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Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin A KG Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones

Eugene Onegin...... Thomas Hampson baritone Tatyana...... Kiri Te Kanawa soprano Lensky...... Neil Rosenshein tenor Prince Gremin...... John Connell bass A Captain/Zaretsky...... Richard Van Allan bass Monsieur Triquet...... Nicolai Gedda tenor Madame Larina...... Linda Finnie mezzo-soprano Filippyevna...... Elizabeth Bainbridge mezzo-soprano Olga...... Patricia Bardon mezzo-soprano

Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras

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COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No. 3 Scene and Aria Madame Larina, Nurse, Lensky, Onegin 5 ‘Oh, how I love to hear the people singing’ 0:5895 Tatyana, Olga Scene 2 6 ‘I’m not the sort to sit in silence’ 2:3595 No. 8 Introducton and Scene Olga 13 Introduction 1:38101 No. 4 Scene 14 ‘There! No more talk tonight’ 1:19101 7 ‘Come here, my darling Olga!’ 3:1095 15 ‘I can’t sleep, Nanny’ 0:49101 Madame Larina, Nurse, Tatyana, Peasants, Olga 16 ‘Well, let me think now’ 4:55101 Nurse, Tatyana

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TimePage COMPACT DISC TWO TimePage No. 9 Letter Scene Act II 17 ‘To write is foolishness, I know it’ 2:52102 18 ‘“I had to write”’ 3:03102 Scene 1 19 ‘No, there could never be another’ 1:52103 No. 13 Entr’acte, Waltz and Chorus 20 ‘For you were always there beside me’ 0:50103 1 Entr’acte and Waltz 2:38107 21 ‘“Are you an angel”’ 2:20103 2 ‘This is superb!’ 1:45107 22 ‘“No, come what may”’ 2:14103 Guests Tatyana 3 ‘Certainly! But why aren’t you dancing?’ 1:03108 No. 10 Scene and Duet Captain, Guests 23 ‘Ah, night is over!’ 2:30104 4 ‘So that’s their verdict!’ 2:19108 24 ‘Oh, Nanny, may I ask a favour?’ 0:25104 Onegin, Lensky, Guests 25 ‘Then make your grandson go in secret’ 3:08104 Tatyana, Nurse No. 14 Scene and Triquet’s Couplets 5 ‘How can I have deserved to be so taunted by you?’2:22109 Scene 3 Lensky, Olga, Onegin No. 11 Chorus of Girls 6 ‘By chance I ’ave with me a song’ 0:44110 26 ‘Dear companions, come this way’ 3:07105 7 ‘“A cette fête conviée”’ 2:39110 Girls Triquet, Guests No. 12 Scene and Aria 27 ‘Onegin!Here! To see me!’ 2:23106 No. 15 Mazurka and Scene 28 ‘You wrote a letter’ 1:47106 8 ‘Messieurs! Mesdames! ’ 1:13111 Tatyana, Onegin Captain 29 ‘Were I the sort who had intended’ 3:14106 Mazurka Onegin 9 ‘Why aren’t you dancing, Lensky?’ 3:14111 30 ‘But try to practise self-control’ 1:02107 Onegin, Lensky, Guests, Madame Larina Onegin, Girls TT 70:30 00

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TimePage TimePage No. 16 Finale 20 ‘The Princess Gremina!’ 2:15119 10 ‘Here in your house!’ 2:50112 Guests, Onegin, Tatyana, Gremin Lensky, Onegin, Tatyana, Olga, Madame Larina, Guests No. 20a Aria 11 ‘Your challenge I accept’ 1:52114 Onegin, Lensky, Guests, Olga 21 ‘The gift of love is rightly treasured’ 5:41119 Gremin Scene 2 No. 21 Scene and Arioso No. 17 Introduction, Scene and Aria 22 ‘And now, you must be introduced to her’ 1:21119 12 Introduction 1:59115 Gremin, Tatyana, Onegin 13 ‘What’s happened? Where can your opponent be?’ 1:14115 23 ‘Is this the very same Tatyana’ 2:22120 Zaretsky, Lensky Onegin 14 ‘How far, how far away you seem now’ 6:22115 Lensky Scene 2 No. 18 Duel Scene No. 22 Final Scene 15 ‘Ah, here they are!’ 1:55116 24 Introduction 1:39120 25 16 ‘We fight to satisfy our honour’ 4:02116 ‘Why, why did he return and write this letter?’ 2:15120 Zaretsky,Onegin, Lensky Tatyana, Onegin 26 ‘Onegin, I was then far younger’ 2:15121 Act III Tatyana 27 ‘Ah, Tatyana!’ 3:15121 Scene One 28 ‘Onegin, as a man of honour’ 2:07122 17 No. 19 Polonaise 4:19117 29 ‘Onegin! Leave me, I entreat you’ 1:40122 No. 20 Scene and Aria Onegin, Tatyana 18 ‘Here, too, I’m bored!’ 2:25117 TT 71:5000 Onegin 19 Ecossaise 1:50117

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St Petersburg ball, Act III Scene 1, from Welsh National Opera’s 1993 production of Eugene Onegin C a t he r i n e A s hm o re

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outset, Tchaikovsky felt that it would be transplanted onto the operatic stage. However, Tchaikovsky:Eugene Onegin necessary for him to adopt an essentially from his earliest acquaintance with the Pushkin radical approach if the project were to be text, he had been most deeply moved by the How pleasant to avoid all the routine verse was extremely slight. However, over the successful, a fact he took particular pains to episode in which Tatyana sits up throughout Pharaohs, Ethiopian princesses, poisoned course of a few days the composer was quick point out to Shilovsky. More than anything the night penning her innocent and impulsive cups and all the rest of these tales about to change his mind and recognise that else, he wanted to avoid the stultifying operatic declaration of love to Onegin, only to have him automata. What poetry there is in Onegin! ultimately the poem’s dramatic defects could be conventions of his day, which he felt would be cruelly reject her advances when they meet the Thus wrote Tchaikovsky to his brother overcome by the ‘richness of its poetry’ and its unable to do justice to Pushkin’s highly- next morning. Indeed, it was with the intention Modest in May 1877, as he began work on his ‘humanity and simplicity’. Above all, he was charged text. Significantly, he soon dispensed that this passage (part of which provides the new opera, Eugene Onegin. confident that he could produce an operatic with Shilovsky’s services altogether and himself basis of the famous ‘Letter Scene’) should It was the singer Elizaveta Lavrovskaya who version of Eugene Onegin which would genuinely took over the fashioning of the libretto for a form the emotional focus of the opera that had suggested to him at a recent party that he complement the work on which it was based, work which he was to describe, with Tchaikovsky drafted his scenario. Soon it was to should consider Pushkin’s ‘novel in verse’ as the rather than destroy its essential character and characteristic precision, as a set of ‘lyrical take on an even more personal significance. basis for an opera. Tchaikovsky’s initial thus attract the opprobrium of Pushkin’s many scenes in three acts’. Inspired as he clearly was by the figure of reaction, like that of most of his friends and admirers. Though he was not entirely successful Though this was not Tchaikovsky’s first opera the spurned Tatyana, it is scarcely surprising acquaintances, was unfavourable, and he was in this regard – Turgenev, for instance, found – he had already worked on several abortive that, having produced his scenario, tempted to reject the idea of Eugene Onegin out much to criticise in the libretto – it is generally projects, including a setting of Pushkin’s Boris Tchaikovsky should then have had cause to of hand and concentrate instead on two acknowledged today that with Eugene Onegin Godunov and a treatment of the Undine legend, reconsider his reaction to an unsolicited love alternative and more promising suggestions, Tchaikovsky produced both his own operatic as well as the historically based The Oprichnik letter which he had received a few weeks Shakespeare’s Othello and Alfred de Vigny’s masterpiece, as well as one of the most and what he later called his ‘brilliant failure’, earlier from a young student at the Cinq-mars. Surely Pushkin’s work was far too enduring contributions to the nineteenth- Vakula the Smith (later revised as Cherevichki) – Conservatory. To the composer, the similarity subtle and much too highly regarded in literary century Russian repertoire. never before had he identified so closely with between his own position and that of the circles for him to dare subjecting it to an Once his interest had been aroused, any of his dramatic projects. To some extent, central character in his new opera must have operatic treatment, with all the adherence to Tchaikovsky was eager to set to work: the this may perhaps be explained by his growing seemed like the direct intervention of Fate, a artificial convention which that would involve? entire scenario was drafted during the course realisation that through the medium of his force whose warnings he was always ready to Moreover, at first sight it did not appear to of just one sleepless night, and the following music he could provide the ideal counterpart to heed. Afraid of playing Onegin to her contain anything like enough action to sustain a day he presented it to his friend Konstantin Pushkin’s sophisticated narrative style, that Tatyana, Tchaikovsky agreed to wed Antonia full-length stage work, for the basic story Shilovsky with the request that he turn it into element of the original which, unlike its Milyukova, even though, having long ago around which Pushkin had woven his elegant a libretto as quickly as possible. From the dramatic substance, could not be directly come to terms with his homosexual

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orientation, he was unwilling to contemplate the opera, sending back accounts to Nadezhda friend Rubinstein, the director of the invention, colour, and lyricism which the any physical relationship with his intended von Meck, until finally in February 1878, Conservatory, with a request that he arrange Russian public had come to expect of him are bride. In the event, the marriage, duly following a frenetic final burst of activity, he for the staging of part of the opera, namely abundantly displayed: however, Eugene Onegin solemnised in July 1877, proved to be both was able to announce its completion. the whole of the first act and the first part of also reveals a composer with a sure dramatic short-lived and disastrous, plunging the Tchaikovsky now turned his energies to the second. Initially, Rubinstein doubted the touch, whose transformation of a Byronesque composer into a serious depression from making arrangements for the staging of Eugene wisdom of this plan, fearing that it might narrative into an effective piece of musical which he was even forced to seek relief by Onegin. Just as he had been eager to tread new inflict long-term damage on Tchaikovky’s theatre places him in the highest rank of attempting suicide some two months later. paths in his approach to the construction of reputation: however, he eventually acquiesced, operatic composers. Above all, due recognition The composition of Eugene Onegin thus took the libretto and its setting to music, so was he and in December 1878 a truncated version must be given to Tchaikovsky’s unerring sense place against a backdrop of serious personal also concerned to inject a new freshness and was given in dress rehearsal at the of what would and would not prove effective difficulties, but though these sapped the vitality into its performance. At an early stage, Conservatory. On 29 March 1879, Rubinstein on the operatic stage. Choosing to frame his composer’s energy, they never succeeded in he was aware that ideally his score would conducted a performance of the full work at opera around selected episodes from Pushkin’s distracting him totally from the project in require singers of a different calibre to those the Maly Theatre using a student chorus and poem was a strategy fraught with risk, for at a hand. His recovery from nervous breakdown, readily available at the Imperial Opera Houses. largely student orchestra, and though stroke he had thereby changed the when it came, owed much to his recent ‘Where shall I find the Tatyana whom Pushkin Tchaikovsky’s treatment of Pushkin was fundamentally narrative character of the friendship with the mysterious widow imagined, and whom I have tried to illustrate censured in some quarters, in general his new original. However, what Tchaikovsky was quick Nadezhda von Meck who, by becoming his musically?’, he wrote. ‘How vulgar will opera found favour with most of the critics. to appreciate was that this approach, in which patroness, was able to offer help of a material Pushkin’s captivating portrayal be made, when Two years later, on 23 January 1881, Eugene attention is firmly focused on the emotional kind, as well as vital intellectual stimulation. it is transferred to the stage, with its Onegin was seen in its first fully professional climaxes of the story such as Onegin’s Their relationship, conducted entirely through conventions, its meaningless traditions, its staging at Moscow’s Bolshoy Theatre, renunciation of Tatyana and Lensky’s farewell letters and never in person, was to be one of veterans of both sexes who take on, with no following which it soon earned a permanent to the world, would give his opera a truly the most significant creative forces in shame at all, the roles of sixteen-year-old girls place in the repertory of companies universal appeal. Like the great operas of Tchaikovsky’s life from this point onwards and and beardless youths!’ throughout Europe. Mozart and Verdi, Eugene Onegin does far more was movingly acknowledged in the dedication A solution presented itself in the shape of Given the trepidation with which than merely present a series of events through of his contemporaneous Fourth Symphony to the students of the Moscow Conservatory, Tchaikovsky had first approached the subject the medium of opera: instead, its main concern ‘My Best Friend’. Throughout 1877 and early who Tchaikovsky thought might be better able matter of his opera, the success of Eugene is the portrayal of genuinely human characters 1878, as he travelled in turn to Switzerland, to deal with his score than singers trained in Onegin is all the more remarkable. This may with whose feelings and actions the audience France, Italy, and Austria in order to the conventional manner. Consequently, in perhaps in part be attributed to its score, may identify closely. recuperate his strength, he continued work on early November 1877 he had approached his where the high standards of melodic In this sense, Tchaikovsky surpasses even

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Pushkin’s achievement, for much of the in his music is difficult to trace, it is perhaps Synopsis 5 In their reactions to the folk song, the two poem’s subtlety may be appreciated only by significant that Eugene Onegin makes a more sisters demonstrate their different characters. those familiar with the insidious tension prominent and developed use of reminiscence COMPACTDISCONE For the more introspective Tatyana, the singing between city and rural society in nineteenth- motives than do his earlier operas. evokes an undefined yearning; for the extrovert century Russia, whereas the opera has an Undoubtedly the most important musical Act I Olga, however, it simply makes her want to attraction which has survived down the influence on Tchaikovsky was, however, the dance. generations and across many nationalities. indigenous tradition of opera which had grown 1 Introduction 6 Picking up the words of the peasants, Olga Though it was Tchaikovsky’s response to up in his country over the course of the sings of her carefree spirit and zest for life. Pushkin which determined the essential preceding four decades, following the Scene 1 7 As the peasants leave, Madame Larina and character of his opera, due acknowledgement appearance of Glinka’s ALife for the Tsar in The garden of the Larin country estate on a late Filippyevna ask Tatyana why she looks so must be given to the many other influences 1836. The Russian quality of Pushkin’s poem is summer’s evening. Madame Larina is making jam, distressed, thinking she must be ill. She replies, which also came to bear on the work. Just as reflected in Tchaikovsky’s conscious adaption aided by the family nurse, Filippyevna. however, that it is the effect of the moving love in his orchestral music he remained closer to of many of the features of the national style of 2 From outside the house, the two Larina story which she is reading. the traditions of Western Europe than many opera: the rustic Harvest Chorus in Act I, for sisters, Tatyana and Olga, are heard singing a 8 The young landowner Lensky, who has been of his contemporaries, such as Balakirev and example, has many counterparts, as do the folk song. Its tale of a lovesick shepherd boy courting Olga for some time, arrives, bringing Cui, who chose instead to follow a defiantly characteristic dances, such as the Polonaise in awakens in Madame Larina memories which she with him a friend and new neighbour, Eugene ‘Slavophile’ path, so too in his operas did he Act III. Nonetheless, in Tchaikovsky’s hands shares with Filippyevna of her own youthful Onegin. derive much inspiration from works outside such features are used to a quite different end, love affairs and eventual arranged marriage. 9 While Onegin quizzes Lensky about the Russian repertoire. For Eugene Onegin, his for Eugene Onegin is far more a realist opera in 3 A group of peasants arrive, weary from Tatyana, she reveals that his appearance has encounter with Bizet’s Carmen during a visit to the manner of Verdi’s La traviata than it is a their labours in the fields. Their leader presents awakened within her sudden desires. Olga is not Paris in 1876 proved seminal:Modest tells us work of the Nationalist school. While Russian a decorated sheaf of corn to Madame Larina slow to recognise this change in her sister’s that it was ‘one of the most powerful musical elements contribute enormously to the vivid as a symbol that the harvest has all been safely mood. impressions of his life’, and though the plots atmosphere of the opera, its main concern gathered in. 10 Olga and Lensky declare their love for each of the two operas are very different, they remains the unfolding of the tragic love story 4 At her request, the peasants celebrate by other. Onegin engages Tatyana in polite and inhabit some of the same emotional world. with a universal and timeless significance which performing a harvest dance and song. As they rather stilted conversation, asking how she can Equally important, perhaps, was the visit to has not been lost on generations of recount the tale of the miller’s daughter and be happy living in a rural environment which Bayreuth which Tchaikovsky made in 1876 for commentators and audiences alike. how she repulses the advances of a wealthy yet offers so few social distractions; her reply, that the first performance of Der Ring des fickle farmer, Tatyana and Olga come out to she spends her time reading and daydreaming, Nibelungen. Though the influence of Wagner © 1994 Ewan West listen. betrays her essentially romantic temperament.

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11 As Onegin and Tatyana move away, Lensky 21 – 22 She resumes the letter imploring their joyful song, Onegin counsels Tatyana to him. Olga, who is merely being light-hearted, now pours out his feelings for Olga; these are Onegin to rescue her from the tormented practise self-control and to wait until a more tells Lensky that he is silly to make so much of heartily reciprocated. state to which she has been reduced. suitable consort appears. a harmless dance, but to taunt him further 12 With night falling, Madame Larina comes 23 As the morning breaks, the letter is agrees to partner Onegin once again. out to bid her guests to supper. Onegin escorts finished. Filippyevna comes to wake Tatyana. COMPACTDISCTWO 6 – 7 An old French tutor, Monsieur Triquet, Tatyana into the house, watched by 24 She asks a favour of her nurse to which performs some couplets he has written in Filippyevna. The nurse thinks she detects signs Filippyevna agrees. Act II honour of Tatyana. that her charge has fallen for their new visitor. 25 Tatyana gives her the declaration of love 8 The next dance is announced: a mazurka. and asks her to see that it is delivered to Scene 1 Onegin takes one turn with Olga and then Scene 2 Onegin. The ballroom in Madame Larina’s house, the conducts her to a seat. All the while, Lensky Tatyana’s room, later that evening following January. It is Tatyana’s name day, and a watches. 13 Introduction Scene 3 ball is being held in her honour. 9 Lensky begins to quarrel with Onegin, 14 Filippyevna tells Tatyana it is bedtime. On the Larin estate, the next day 1 A waltz is danced. accusing him of making unwelcome advances 15 While preparing for bed, Tatyana asks 26 A group of peasant girls sing as they 2 The guests, many of whom are towards Olga. Onegin attempts to calm him Filippyevna about the past. gather berries. neighbouring landowners, express their delight down, but Lensky is beyond reason. He 16 Was she ever in love? Once the nurse has 27 Tatyana appears, distraught at the news at the occasion, which is a welcome relief challenges Onegin to a duel. Madame Larina is recounted the story of her bleak marriage, that Onegin has come to see her: already she from their normal routine. shocked that this should be happening in her Tatyana tells of her own troubled emotions. regrets her impulsive action. 3 Onegin, who has been brought by Lensky, house. 17 Left alone, Tatyana goes to the writing table 28 He speaks to her somewhat coldly, for dances with Tatyana. This causes some 10 Lenksy recalls the happy days he has and begins to pen a letter to Onegin. After a though her letter has caused old emotions to comment, for the company considers him formerly spent in Madame Larina’s house. hesitant start, she pours out her feelings for stir within him, he is surprised that she should unworthy of Tatyana on account of his Tatyana is horrified that Onegin will be killed him. write so openly to a comparative stranger. unpleasant character and notorious evil and lost to her for ever, while Olga, Madame 18 Her heart, she writes, compelled her to 29 Had he intended to lead a life of domestic living. Larina, and the assembled company upbraid declare her love. Perhaps, if she had never met bliss, Onegin tells her, he could not have 4 Onegin overhears their comments and, young men for acting so blindly and him she might have, in time, married someone hoped for a more worthy partner than having decided to punish Lensky for impulsively. Onegin is secretly remorseful for else. Tatyana. However, he no longer feels himself persuading him to attend the ball, insists on his actions. 19 Rising from the table, she realises that there destined to marry and believes that he could dancing with Olga. 11 However, he accepts Lensky’s challenge in never could be anyone else. not reciprocate Tatyana’s devotion. 5 Lensky, jealous at the attention Olga is order to teach him a lesson for so foolishly 20 She had always loved him. 30 As the peasant girls continue to perform giving to Onegin, accuses her of flirting with misinterpreting innocent actions.

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Scene 2 19 An écossaise is danced. 26 Wiping away her tears, Tatyana reminds is now a much sought-after singer in a wide A watermill on the banks of a wooded stream. It is 20 Prince Gremin enters with his wife, who is Onegin of how they first met and how coolly, variety of musical contexts. early morning and the sun has only just risen. none other than Tatyana. Onegin recognises and to her cruelly, he received her adolescent Kiri Te Kanawa is a familiar figure in the 12 Introduction her, though with difficulty, for she has expressions of love. Now she realises how right leading opera houses of the world – Covent 13 Zaretsky, an officer and Lensky’s second, changed from being a simple provincial girl he then was, for she was indeed too simple and Garden, the Metropolitan Opera, Chicago asks where Onegin is, wondering whether he into dignified princess. Tatyana inquires after unsophisticated. Does he only love her now Lyric Opera, the Paris Opéra, Sydney Opera is lost. the stranger, who by now is talking to her because she is rich and well connected? House, the Vienna State, La Scala, San 14 Lensky, filled with foreboding, senses that husband, and on hearing Onegin’s name 27 Despite Onegin’s protestations, she does not Francisco, Munich, Cologne and the Verona he is about to be killed in the duel. He recalls begins secretly to tremble with emotion. yield. Opera. Her lyric soprano heroines include the the days of his youth and his love for Olga. 21 The elderly Prince Gremin tells Onegin of 28 Though she is tempted to give in to the love three major leading roles by Richard Strauss 15 Onegin arrives, bringing with him only a the deep love he feels for his young wife and which begins to awaken anew in her heart, she (Arabella, The Marschallin, and the Countess servant as his second. how it has transformed his otherwise barren must remain faithful to her husband. in Capriccio); Mozart’s Fiordiligi, Donna Elvira, 16 As their seconds confer, Onegin and Lensky existence. 29 She begs Onegin to leave. As she flees from Pamina and Countess Almaviva; Verdi’s make one last futile attempt at reconciliation. In 22 Onegin and Tatyana are introduced to each the room, Onegin is overwhelmed by despair Violetta, Amelia Boccanegra, Desdemona; the ensuing duel, Lensky is still. other by Prince Gremin and she acknowledges and contemplates his miserable fate. Puccini’s Tosca, Mimì and Manon Lescaut; fleetingly their former acquaintance. Johann Strauss’s Rosalinde, and Tchaikovsky’s Act III 23 When Tatyana leaves, Onegin reflects on © Ewan West Tatyana, also Bizet’s Micaela, and Gounod’s Scene 1 the changes which have overcome her. Now Marguerite. Several years later. Prince Gremin’s house in regretful at having once rejected her, he is Kiri Te Kanawa gained legendary status almost She has released a number of distinguished St Petersburg filled with a new ardour and decides to declare overnight after her sensational debut as the recordings including the complete Don 17 The guests dance a polonaise and then his love to her. Countess in Le nozze di Figaro at the Royal Giovanni,Le nozze di Figaro, Così fan tutte, Die break off into groups to converse. Opera House, Covent Garden. From then, she Zauberflöte and Tosca, La rondine and Manon 18 Onegin has returned to St Petersburg after Scene 2 moved rapidly into the front rank of Lescaut, as well as Simon Boccanegra, Arabella, several fruitless years wandering the world, A room in Prince Gremin’s house, the next morning international opera, and has become one of the Otello, La traviata, Der Rosenkavalier, Faust, attempting to escape his past. But he still 24 Introduction most famous sopranos in the world. At the time Carmen, Capriccio and La bohème, along with cannot forget that he killed the only friend he 25 Tatyana has received a letter from Onegin of her operatic debut she was already an selections of arias from French, Italian and ever valued, whose spectre still haunts him in which he has announced his feelings for experienced concert and recording artist, and German operas. constantly. The other guests comment on his her. Weeping, she recalls how she once felt for equally at home in front of the cameras as on Kiri Te Kanawa was created a Dame in gloomy presence. him. Onegin arrives, imploring her pity. stage. Continuing to develop as a recitalist, she 1982, and in the 1995 Queen’s Birthday

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Honours List she was awarded the prestigious Carlos (Paris, London, Edinburgh); Wolfram in Die Fledermaus. A specialist in the French Aida and the following season joined the Order of New Zealand. Wagner’s Tannhäuser (Zürich), Busoni’s Dr repertoire, he has also been seen at the Met in company as principal bass. He sang regularly Faustus (Salzburg), and Szymanowski’s King the title role of Werther and has appeared as with English National Opera as a guest artist America’s leading baritone, Thomas Roger (Birmingham). The 2000/2001 season Don José in Carmen with the Met in the Parks. and his roles there have included the Hampson has been recognised for his features performances of He has been a guest of every major opera Commendatore (Don Giovanni), Colline versatility and breadth of achievement in Dr Faustus (New York), Hamlet (Paris), and house in the United States. (La bohème), The Monk (Don Carlos), The First opera, song, recording and research. He enjoys Eugene Onegin, Guillaume Tell, Die lustige Witwe Neil Rosenshein’s European performances Voice (Busoni’s Doktor Faust), Ferrando an international career that has taken him to and Linda di Chamounix (Vienna), as well as a have taken him to The Royal Opera, Covent (Il trovatore), Leporello (The Stone Guest), The Old all the world’s most prestigious stages and role debut as Oreste in Gluck’s Iphigénie en Garden (Lensky in Eugene Onegin, and Steva in Convict (Lady Macbeth of Mtsensk), Basilio (The concert halls and has made him one of today’s Tauride in Salzburg. Almost all of Hampson’s Jenuofa); the Paris Opéra and Hamburg Barber of Seville), Dansker (Billy Budd ), Banquo most respected, innovative and sought-after recordings have received the rewards of the Staatsoper (Alfredo); Zurich Opera (Macbeth), Pogner (The Mastersingers) and Sarastro soloists. He has furthered his commitment to industry, including six Grammy nominations (Belmonte in Die Entführung aus dem Serail ); (The Magic Flute). He has also sung for The Royal the art of song not only by teaching, but also and three Gramophone awards. Opéra de Lausanne (Cavaradossi and Opera and Opera North. by researching repertoire, and designing multi- Werther); Grand Théâtre de Genève (Tom Recordings include Peter Grimes (for Chandos), media projects like Voices from the Heart, a The versatile American tenor Neil Rosenshein Rakewell in The Rake’s Progress); and the Billy Budd, Elijah, Szymanowski’s Stabat Mater and performance documentary on the music of is known equally for his memorable stage Netherlands Opera for the title roles in Don Vaughan Williams’s Serenade to Music. For BBC Stephen Foster for the Hessischer Rundfunk portrayals and his thoughtful musicianship. He Carlo and Zemlinsky’s Der Zwerg. He has also radio he has recorded a studio opera, The und Arte. appears with equal success on the opera stage performed in Essen, Bonn, Brussels, Lisbon, Burghers of Calais. Other engagements have Hampson’s operatic roles span a wide range, and in concert halls in repertoire by composers Lille, Nice, Marseilles, Toulouse, Lyon, and included concert performances of Die Walküre from Rossini to Verdi and Puccini, and from from the Baroque to the twentieth century. with New Israeli Opera. In Japan, he has in Spain, Sarastrowith Welsh National Opera Monteverdi to Britten and Henze. Among his In the 2000/2001 season Neil Rosenshein performed the role of Lensky with the Pacific and Padre Guardiano (The Force of Destiny) with celebrated recent portrayals have been the title will sing Herod in Salome with the Milwaukee Music Festival, and has sung the tenor solo in English National Opera. roles in Guillaume Tell (Vienna), Eugene Onegin Symphony, and Tikhon in Káta Kabanová with Beethoven’s Ninth Symphony in a Peace (Vienna and Paris), in Ambroise Thomas’s Houston Grand Opera. He made his Concert given in Hiroshima. Nicolai Gedda is internationally acknowledged Hamlet (Monte Carlo and San Francisco) and Metropolitan Opera debut as Alfredo in as one of the greatest artists of our time and in the rarely heard baritone version of La traviata, going on to perform there the title John Connell studied at the Royal Northern has been acclaimed for his command of a Massenet’s Werther (New York); Père Germont role in Gounod’s Faust, the Prince in a new College of Music with Patrick McGuigan and repertoire which encompasses almost every in La traviata (Zurich); the Marquis of Posa in production of Rusalka, the title role in Peter at the National Opera Studio. He made his style and period in the field of opera, oratorio, the original French version of Verdi’s Don Grimes, and both Alfred and Eisenstein in debut at Engish National Opera as Ramphis in operetta, song and orchestral works.

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Born in Sweden of Russian–Swedish Nicolai Gedda recently gave a highly Rigoletto, La fanciulla del West and Mefistofele for in Massenet’s Don Quixote (for English parents, he made his professional debut at the successful concert of opera and operetta arias the Royal Opera House, Covent Garden, and National Opera and Victoria State Opera), Royal Opera, Stockholm in 1952 in Le Postillon at the Royal Opera House, and returned there numerous roles for Opera North, Welsh Theseus (The Fairy Queen), Basilio, Old Man de Longjumeau. In 1953 he made his debut at La for a new production of Pfitzner’s Palestrina. National Opera, Scottish Opera, English (King Priam) for Flanders Opera and English Scala, Milan followed in 1954 by his debut at National Opera and Glyndebourne. Future National Opera, and Don Jerome (La Dueña the Paris Opéra, and in 1957 with his Dublin-born Patricia Bardon first came to engagements include appearances at the for Opera North). Metropolitan Opera debut (in the title role of prominence as a prize-winner in the inaugural Chicago Lyric Opera, the Maggio Musicale Richard Van Allan’s recordings include Gounod’s Faust). Since his debut with The Cardiff Singer of the World Competition, and with Zubin Mehta, the Munich Staatsoper, Mozart’s Così fan tutte with Montserrat Caballé, Royal Opera in 1965 (as the Duke of Mantua since then has become established as a leading English National Opera and Amsterdam. Janet Baker and Ileana Cotrubas conducted by in Verdi’s Rigoletto) he returned to sing international operatic and concert performer. Patricia Bardon’s extensive and wide-ranging Sir Colin Davis, Don Giovanni with Bernard Benvenuto Cellini, Alfredo, Gustavus III in Her operatic roles include Arsace concert repertoire has taken her to La Scala, Haitink, Raleigh (Britten’s Gloriana) with Sir Un ballo in maschera, Nemorino and Lensky. He (Semiramide) at La Fenice, Venice; the title role Madrid, Brussels, Berlin, the Edinburgh and Charles Mackerras, Billy Budd, and for created leading roles in Barber’s Vanessa and in La Cenerentola at La Monnaie, Brussels; the Montreux Festivals, Cincinnati and Tokyo. Her Chandos Roberto Gerhard’s Menotti’s The Last Savage at the Metropolitan title role in Carmen for the Hamburg recordings include Orlando, Elijah, Erda (The La Dueña. Opera. Staatsoper, Welsh National Opera and Scottish Rhinegold for Chandos/Peter Moores His operatic triumphs have ranged from the Opera; Penelope (Il ritorno d’Ulisse in patria) at Foundation), Amastris (Serse), and Rigoletto. Linda Finnie was born in Scotland and works of Haydn and Mozart to Stravinsky, the Maggio Musicale in Florence and in studied at the Royal Scottish Academy of Orff, Barber and Menotti, while in recital he is Athens with Trevor Pinnock; the title role in Richard Van Allan is one of Britain’s most Music and Drama and the Royal Academy of regarded as an outstanding interpreter of Handel’s Orlando in New York, Paris, Lyon, distinguished bass-baritones. He is a member Music. She has appeared with all the major lieder. Nicolai Gedda has worked with almost Strasbourg and Montpellier with William of English National Opera, appearing in many British opera companies, notably with English all of the great international conductors of Christie and Les Arts Florissants; Smeton leading roles, and has also appeared at Covent National Opera as Brangäne (Tristan and the past thirty-five years, including Beecham, (Anna Bolena) in San Francisco; Amastris Garden, Opera North, Glyndebourne Festival Isolde), Eboli (Don Carlos), Amneris (Aida), Bernstein, Giulini, Klemperer, and Solti. (Serse) for the Munich Staatsoper with Ivor Opera, Welsh National Opera and Scottish Ortrud (Lohengrin) and Ulrica (A Masked Ball ), He also has the distinction of being the most Bolton, and in Dresden and Montpellier; Juno Opera. He is also Director of the National and with The Royal Opera as Waltraute recorded tenor in the world with 200 (Semele) in Innsbruck with René Jacobs; the Opera Studio. His operatic engagements (Götterdämmerung). Abroad she has appeared in recordings to his credit. These include title role in Tamerlano at the Beaune Festival; abroad have taken him to New York’s Paris, Geneva, Frankfurt, Flanders, Lille, Nice, complete opera performances of Guillaume Helen (King Priam) for De Vlaamse Opera, Metropolitan Opera, the Paris Opéra, Teatro Vienna, Tokyo, Singapore, Australia, New Tell, La bohème, Faust, Werther, Manon, Così fan Antwerp, and Third Lady (Die Zauberflöte) in Colon in Buenos Aires, San Diego, Miami Zealand, and at the Bayreuth Festival. tutte and Benvenuto Cellini. Verona; roles in Guillaume Tell, Mosè in Egitto, and Seattle. Roles have included the title role Linda Finnie’s many recordings on Chandos

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include works by Bliss, Diepenbrock, Korngold Under Richard Armstrong, the Musical und Isolde and Parsifal with Reginald Goodall, Foundation. He is Conductor Laureate of the and Respighi, as well as Mahler song-cycles, Director from 1973 to 1986, the Orchestra I masnadieri, Norma, Hamlet, Ernani, Anna Scottish Chamber Orchestra, Conductor Elijah, Elgar’s Sea Pictures and The Light of Life, developed a broad operatic repertoire. It was Bolena and Adriana Lecouvreur with Richard Emeritus of Welsh National Opera, Principal and Prokofiev’s Ivan the Terrible (winner of the during this period that Reginald Goodall first Bonynge, Tosca with Georg Solti and Rigoletto, Guest Conductor of the San Francisco Opera, Deutsche Schallplattenpreis). worked with the Orchestra. Sir Charles Faust and Un ballo in maschera with Carlo Rizzi and from the 1998/99 season Music Director Mackerras became Musical Director in 1987 as well as The Mikado, The Pirates of Penzance, of the Orchestra of St Luke’s, New York. Elizabeth Bainbridge was born in Lancashire and the Orchestra’s recording schedule began The Yeomen of the Guard, Britten’s Gloriana, and He has for many years been associated with and studied at the Guildhall School of Music to expand considerably. Previously several Janácvek’s Osud with Mackerras. Among The Royal Opera, Covent Garden and and Drama. She made her debut at The Royal complete operas had been recorded under concert pieces it has recorded are conducts regularly at The Metropolitan Opera, Opera, Covent Garden in Die Walküre in 1964, Richard Bonynge, with Joan Sutherland, Sea Drift by Delius, The Vigil of Venus by New York. and joined the Company the following year. Montserrat Caballé and Pavarotti leading George Lloyd and Hiawatha by Coleridge- Sir Charles Mackerras has undertaken much Roles include Mistress Quickly, Suzuki, world-class casts. Under Mackerras the Taylor. research into performance practice of the Amneris, Emilia, Erda, Arvidson, Filippyevna, orchestra went on to record Janácvek’s Osud eighteenth and nineteenth centuries, which has She-Ancient (The Midsummer Marriage), (CHAN 3019). Carlo Rizzi has been Musical Sir Charles Mackerras was born in 1925 of profoundly affected today’s interpretations. Grandmother Buryja (JenuÞfa) and Auntie (Peter Director since 1992. In 1995 the Orchestra of Australian parents in the United States and His vast discography includes an award- Grimes). She appeared with The Royal Opera at Welsh National Opera won the Royal studied in Sydney and Prague. He made his winning cycle of JanácŠek operas with the the Teatro alla Scala (1976), in South Korea Philharmonic Society Music Award, in the debut as an opera conductor at Sadler’s Wells Vienna Philharmonic Orchestra, Britten’s and Japan (1979), at the 1984 Olympic Arts Large Ensemble category. Opera, where he was instrumental in producing Gloriana and DvoŠrák’s Rusalka (both of which Festival, Los Angeles, and in the 1985 Athens the sensational first British performance of won Gramophone awards), Beethoven, Brahms Festival. Recordings include Norma, Les Troyens, The Chorus of Welsh National Opera JanácŠek’s Kát’a Kabanová, which led to and Mahler symphonies, and with English The Cunning Little Vixen, Dido and Aeneas and began as a professional body in 1968. The JanácŠek’s becoming standard repertory in the National Opera Handel’s Julius Caesar and The Midsummer Marriage. reputation of the Chorus grew quickly, and its UK. He was First Conductor of the Hamburg Donizetti’s Mary Stuart (for Chandos/Peter operatic and concert work has won wide Opera (1966–9) and Musical Director of both Moores Foundation). The Orchestra of Welsh National Opera praise, not only in the traditional repertory Sadler’s Wells (later English National Opera) Sir Charles Mackerras received a CBE in was founded in 1970. Since then it has such as Verdi, but also in twentieth-century (1970–77), and of Welsh National Opera 1974 and was knighted for his services to established itself as one of the finest British works such as Tippett’s A Midsummer Marriage (1987–91), where his notable JanácŠek music in 1979. He has also received The orchestras, highly praised as much for its and Janácvek’s From the House of the Dead. The productions and many others won great Medal of Merit from the Czech Republic, the distinction in a wide-ranging operatic repertoire Chorus has recorded many operas including acclaim. The production and recording of Chopin Prize and has been made a as for its concert work and recordings. Andrea Chénier with Riccardo Chailly, Tristan Osud were sponsored by the Peter Moores Companion of the Order of Australia.

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St Petersburg ball, Act III Scene 1, from Welsh National Opera’s 1993 production of Eugene Onegin

Thomas C a t he r i ne A s h m ore Hampson Simon Fowler CHAN 3042 BOOK 29/01/2016 14:55 Page 30

PETERMOORES, CBE, DL giving financial support to various young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant set aside a substantial part of his inheritance to establish the Peter Moores Foundation, a Littlewoods mail order, chain store and football pools group. He was educated at Eton and charity designed to support those causes dear to his heart: to make music and the arts more Christ Church, Oxford, where he read modern languages – he was already fluent in German accessible to more people; to give encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a PETERMOORESFOUNDATION production student at the Vienna State Opera, combining this with a three-year course at the In the field of music, the main areas supported by the Peter Moores Foundation are: Vienna Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera (repertoire which would otherwise only be accessible to scholars); the nurturing of House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful promising young opera singers; new operatic work. operatic career. At this point he received a letter from his father asking him to come home as The Foundation awards scholarships annually to students and post-graduates for furthering he was needed in the firm. Family loyalty being paramount, he their vocal studies at the Royal Northern College of Music. In addition, project awards may be returned to Liverpool. given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 B u r t on / P MF post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the C h r i s t na Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy in 1985. In May 1992 he became Deputy Lieutenant of opera to the full, there must be no language barrier, particularly for newcomers and particularly Lancashire, and in the New Year’s Honours List for 1991, he in the popular repertoire – hence the Opera in English series launched with Chandos in 1995. was made a CBE for his charitable services to the Arts. This includes many of the English language recordings funded by the Foundation in the 1970s Whilst still in his early twenties, Peter Moores had started Peter Moores, CBE, DL and 1980s, and is now the largest recorded collection of operas sung in English.

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Tschaikowsky: Eugen Onegin russischenRepertoire des neunzehnten historischen Tatsachen basierende Oper Jahrhunderts schuf. Opric×nik (Der Leibwächter) und das Werk, das Sobald sein Interesse geweckt worden war, er später als seinen “gelungenen Fehlschlag” Es ist ein wahres Vergnügen, von den ewigen für ein abendfüllendes Bühnenwerk zu haben, ging Tschaikowsky mit Eifer an die Arbeit: im bezeichnete, Kuznec Vakula (Der Schmied Pharaonen, äthiopischen Prinzessinnen, denn die eigentliche Erzählung, um die Lauf einer einzigen schlaflosen Nacht entwarf Wakula, später umgearbeitet als C×erevic×ki, Giftkelchen und dergleichen Puppengeschichten Puschkin seine eleganten Verse gesponnen er das gesamte Szenarium, und am folgenden (Die Pantöffelchen)) –, hatte er sich nie zuvor loszukommen. Wieviel Poesie findet man doch hatte, hatte extrem wenig Gehalt. Im Verlauf Tag legte er es seinem Freund Konstantin so eng mit einem seiner Bühnenvorhaben in Onegin! der nächsten paar Tage änderte der Schilowsky mit der Bitte vor, es so schnell wie identifiziert. Bis zu einem gewissen Grad kann So schrieb Tschaikowsky im Mai 1877, als er Komponist jedoch rasch seine Meinung, möglich zu einem Libretto auszuarbeiten. dies vielleicht mit seiner wachsenden die Arbeit an seiner neuen Oper Eugen Onegin nachdem er erkannte, daß die dramatischen Tschaikowsky war von Anfang an der Ansicht, Erkenntnis erklärt werden, daß er durch seine aufnahm, an seinen Bruder Modest. Mängel des Gedichts letzten Endes durch die daß er einen im wesentlichen radikalen Ansatz Musik das ideale Pendant zu Puschkins Es war die Sängerin Elisaweta Lawrowskaja, “Großartigkeit seiner Dichtung” sowie durch wählen mußte, wenn das Projekt Erfolg haben anspruchsvollem Erzählstil schaffen konnte, die ihm auf einer Gesellschaft kurz davor seine “Menschlichkeit und Schlichtheit” sollte, und er gab sich besondere Mühe, jenes Element des Originals, das im Gegensatz vorgeschlagen hatte, Puschkins “Versroman” überwunden werden konnten. Er war vor Schilowsky darauf hinzuweisen. Mehr als alles zu seinem dramatischen Gehalt nicht direkt auf als Grundlage für eine Oper in Erwägung zu allen Dingen zuversichtlich, daß er eine andere war ihm daran gelegen, die lähmenden die Opernbühne verpflanzt werden konnte. ziehen. Genauso wie seine Freunde und Opernfassung von Eugen Onegin Opernkonventionen seiner Zeit zu vermeiden, Schon bei seiner frühesten Beschäftigung mit Bekannten hielt Tschaikowsky zunächst wenig hervorbringen konnte, die das Werk, auf dem die seiner Meinung nach Puschkins dem Puschkin-Text war er von der Episode, in von der Idee und war versucht, Eugen Onegin sie basierte, wirklich ergänzen und seinen emotionsgeladenem Text nicht gerecht werden der Tatjana die ganze Nacht aufbleibt und ihre kurzerhand abzulehnen und sich stattdessen grundlegenden Charakter nicht zerstören konnten. Bezeichnenderweise verzichtete er unschuldige und impulsive Liebeserklärung an auf zwei andere, vielversprechendere würde – und somit auch nicht die bald vollkommen auf Schilowskys Dienste Onegin verfaßt, nur um bei ihrem Vorschläge, Shakespeares Othello und Alfred de Schmähungen der zahlreichen Puschkin- und übernahm selbst die Ausarbeitung des Zusammentreffen am nächsten Morgen Vignys Cinq-mars, zu konzentrieren. Puschkins Bewunderer auf sich ziehen würde. Obwohl Librettos für ein Werk, das et mit typischer grausam von ihm abgewiesen zu werden, Werk war doch bestimmt viel zu subtil und in er in dieser Hinsicht nicht ganz erfolgreich Genauigkeit als eine Folge von “lyrischen zutiefst bewegt gewesen. Tschaikowsky entwarf Literaturkreisen viel zu hoch geschätzt, daß er war – Turgenjew beispielsweise fand am Szenen in drei Akten” beschreiben sollte. sein Szenarium sogar in der Absicht, daß diese es wagen konnte, es einer Opernbearbeitung Libretto einiges auszusetzen –, herrscht heute Obwohl dies nicht Tschaikowskys erste Passage (von der ein Teil die Grundlage der unter Einhaltung aller künstlichen allgemein die Ansicht, daß Tschaikowsky mit Oper war – er hatte bereits an mehreren berühmten “Briefszene” bildet) den Konventionen, die dies mit sich brächte, zu Eugen Onegin sowohl sein persönliches gescheiterten Projekten gearbeitet, darunter emotionalen Mittelpunkt der Oper bilden sollte. unterziehen? Außerdem schien es auf den Meisterwerk auf dem Gebiet der Oper als eine Vertonung von Puschkins Boris Godunow, Bald sollte sie eine noch persönlichere ersten Blick bei weitem nicht genug Handlung auch einen der beständigsten Beiträge zum eine Bearbeitung der Undine-Sage sowie die auf Bedeutung erhalten.

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Die Gestalt der verschmähten Tatjana also vor dem Hintergrund ernster persönlicher Februar 1878 nach einem frenetischen dachte, sie würden vielleict eher mit seiner inspirierte Tschaikowsky eindeutig, und es ist Probleme, doch obwohl diese dem abschließenden Ausbruch an Aktivität ihre Partitur zurechtkommen als Sänger, die auf daher wohl kaum überraschend, daß er, Komponisten die Energie nahmen, gelang es Fertigstellung bekanntgeben konnte. herkömmliche Weise ausgebildet worden nachdem er sein Szenarium verfaßt hatte, ihnen nie, ihn völlig von dem Projekt, an dem Tschaikowsky setzte nun seine Energien waren. Folglich war er Anfang November Grund dazu haben sollte, seine Reaktion auf er arbeitete, abzulenken. Seine letztendliche dafür ein, Vorbereitungen für die 1877 an seinen Freund Rubinstein, den Leiter einen ungebetenen Liebesbrief, der er einige Erholung von seinem Nervenzusammenbruch Bühnenaufführung von Eugen Onegin zu des Konservatoriums, mit der Bitte Wochen zuvor von einer jungen Studentin am war zu einem guten Teil der kurz davor treffen. So erpicht er darauf gewesen war, bei herangetreten, die Bühnenaufführung eines Konservatorium erhalten hatte, noch einmal zu geknüpften Freundschaft mit der mysteriösen seinem Ansatz bezüglich des Aufbaus des Teils der Oper, nämlich des gesamten ersten überdenken. Die Ähnlichkeit zwischen seiner Witwe Nadeshda von Meck zu verdanken, die Librettos und dessen Vertonung neue Wege Aktes und des ersten Teils des zweiten, zu eigenen Lage und der der zentralen Figur ihm dadurch, daß sie seine Mäzenin wurde, einzuschlagen, genauso war er auch darum arrangieren. Rubinstein zweifelte anfangs an seiner neuen Oper muß dem Komponisten wie sowohl materielle Hilfe als auch unerläßliche bemüht, seine Aufführung mit neuer Frische der Klugheit dieses Vorhabens, da er ein eindeutiger Wink des Schicksals erschienen intellektuelle Stimulation bieten konnte. Ihre und Vitalität zu erfüllen. Schon sehr bald war befürchtete, es könnte Tschaikowskys sein, eine Macht, deren Warnungen er immer Beziehung, die ausschließlich durch einen ihm bewußt geworden, daß seine Partitur Ansehen langfristig Schaden zufügen: bereitwillig Beachtung schenkte. Aus Angst regen Briefwechsel gepflegt wurde – idealerweise Sänger von einem anderen Schließlich willigte er jedoch ein, und im den Onegin zu einer Tatjana zu spielen, Tschaikowsky und Frau von Meck gingen Format erforderte als diejenigen, die an den Dezember 1878 wurde die Generalprobe einer erklärte Tschaikowsky sich bereit, Antonina einer persönlichen Begegnung aus dem Wege kaiserlichen Opernhäusern zur Verfügung gekürzten Fassung am Konservatorium Miljukowa zu heiraten, obwohl er, nachdem er –, sollte von diesem Zeitpunkt an einen der standen. “Wo finde ich eine Tatjana, wie gegeben. Am 29. März 1879 dirigierte sich schon lange mit seiner homosexuellen wichtigsten schöpferischen Einflüsse in Puschkin sie sich gedacht hat und wie ich sie Rubinstein am Maly-Theater eine Aufführung Veranlagung abgefunden hatte, nicht gewillt Tschaikowskys Leben darstellen und wurde musikalisch darzustellen versucht habe?”, des gesamten Werkes mit einem war, eine körperliche Beziehung mit seiner durch die Widmung seiner in derselben schreib er. “Wie gemein wird sich Puschkins Studentenchor und einem Orchester, das zukünftigen Gattin in Erwägung zu ziehen. Epoche entstandenen vierten Sinfonie an sie berückendes Bild auf der Bühne ausnehmen – weitgehend ebenfalls aus Studenten bestand, Die Ehe, die im Juli 1877 vorschriftsmäßig (“A ma meilleure amie”) ergreifend anerkannt. mit ihren Konventionen, ihren und obwohl Tschaikowskys Puschkin- vollzogen wurde, erwies sich schließlich als In der zweiten Hälfte des Jahres 1877 und bedeutungslosen Traditionen, ihren Veteranen Bearbeitung in gewissen Kreisen kritisiert katastrophal und von kurzer Dauer und stürtze Anfang 1878, während er der Reihe nach die beider Geschlechter, die ohne jede Scham die wurde, fand seine neue Oper im allgemeinen den Komponisten in schlimme Depressionen, Schweiz, Frankreich, Italien und Österreich Rollen von sechzehnjährigen Mädchen und bei den meisten Kritikern Anklang. Zwei Jahre die ihn etwa zwei Monate später sogar soweit bereiste, um wieder zu Kräften zu gelangen, bartlosen Jünglingen übernehmen!” später, am 23. Januar 1881, erlebte Eugen trieben, daß er in einem Selbstmordversuch setzte er die Arbeit an der Oper fort, wobei er Die Lösung dieses Problems bot sich in Onegin am Moskauer Bolschoitheater seine Ausweg suchte. Nadeshda von Meck über seine Fortschritte Gestalt der Studenten des Moskauer erste völlig professionelle Bühnenaufführung Die Komponisten von Eugen Onegin erfolgte auf dem laufenden hielt, bis erschließlich im Konservatoriums, von denen Tschaikowsky und verdiente sich in der Folge bald einen

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Dauerplatz im Repertoire von Operntruppen Tschaikowsky erkannte jedoch rasch, daß seiner Oper determinierte, doch sollte auch Den zweifellos bedeutendsten in ganz Europa. dieser Ansatz, bei dem sich die den zahlreichen anderen Einflüssen, die sich musikalischen Einfluß auf Tschaikowsky übte Angesichts der Beklommenheit, mit der Aufmerksamkeit eindeutig auf die außerdem auf das Werk auswirkten, jedoch die heimische Operntradition aus, die Tschaikowsky zunächst an den Stoff seiner emotionalen Höhepunkte der Geschichte – gebührende Anerkennung gezollt werden. sich in seinem Vaterland im Verlauf der Oper heranging, ist der Erfolg von Eugen wie Onegins Zurückweisung Tatjanas und Genauso wie er sich in seiner Orchestermusik vorangegangenen vier Jahrzehnte – nach der Onegin um so bemerkenswerter. Dies kann Lenskis Abschied von der Welt – konzentriert, enger an westeuropäische Traditionen hielt als Veröffentlichung von Glinkas Das Leben für zum Teil vielleicht auf die Partitur seiner Oper wahrhaft universelle viele seiner Zeitgenossen – wie beispielsweise den Zaren im Jahre 1836 – entwickelt hatte. zurückgeführt werden, in der das hohe Niveau Anziehungskraft verschaffen würde. So wie Balakirew und Cui, die statt dessen einen Das Russische von Puschkins Versen spiegelt von melodischen Einfällen, Klangfarbe und die großen Opern Mozarts und Verdis trotzig “slawophilen” Weg einschlugen –, sich in Tschaikowskys bewußter Adaptation Lyrik, das das einheimische Publikum vollbringt Eugen Onegin viel mehr als die bloße wurde er auch bei seinen Opern stark von zahlreicher Merkmale des nationalen mittlerweile von ihm erwartete, reichlich Darbietung einer Kette von Ereignissen durch Werken außerhalb des russischen Repertoires Opernstils wider: der rustikale Erntechor im demonstriert wird: Eugen Onegin läßt das Medium der Oper:sein Hauptanliegen ist inspiriert. Seine Begegnung mit Bizets 1. Akt beispielsweise hat genauso wie die Tschaikowsky jedoch außerdem als einen stattdessen die Darstellung von wirklich Carmen bei einem Parisbesuch im Jahre 1876 charakteristischen Tänze, z.B. die Polonaise Komponisten mit einer sicheren Hand für menschlichen Gestalten, mit deren Gefühlen erwies sich als folgenreich:Modest berichtet, im 3. Akt, zahlreiche Pendants. Dennoch Dramatik erkennen, dessen Umarbeitung einer und Handlungen sich das Publikum leicht daß die Oper bei seinem Bruder “einen der werden diese Merkmale in Tschaikowskys Erzählung im Stile Byrons in ein identifizieren kann. In dieser Hinsicht stärksten musikalischen Eindrücke seines Händen zu einem ganz anderen Zweck wirkungsvolles Stück Musiktheater ihn zu übertrifft Tschaikowsky sogar Puschkins Lebens” hinterließ, und auch wenn die verwendet, denn Eugen Onegin ist viel eher einem Opernkomponisten ersten Ranges Leistung, denn ein Großteil der Subtilität Handlung der beiden Opern völlig eine realistische Oper in der Art von Verdis macht. Man muß vor allem Tschaikowskys von Puschkins Versen kann nur von unterschiedlich ist, so bewegen sie sich La traviata als ein Werk der nationalistischen untrüglichem Gespür dafür, was sich auf der jemandem gewürdigt werden, der mit den teilweise doch in der gleichen Gefühlswelt. Schule. Die russischen Elemente tragen zwar Opernbühne als wirkungsvoll erweisen würde heimtückischen Spannungen zwischen den Ähnlich wichtig war vielleicht der Besuch in enorm zur lebhaften Atmosphäre der Oper und was nicht, gebührende Anerkennung städtischen und ländlichen Bayreuth, den Tschaikowsky 1876 anläßlich bei, ihrHauptanliegen ist jedoch die zollen. Die taktische Entscheidung, seine Oper Gesellschaftskreisen im Rußland des der Uraufführung von Der Ring des Nibelungen Entwicklung der tragischen Liebesgeschichte um ausgewählte Episoden aus Puschkins neunzehnten Jahrhunderts vertraut ist, machte. Der Einfluß Wagners auf seine Musik mit ihrer allgemeingültigen und zeitlosen Versroman zu konstruieren, war mit Risiken während die Oper eine Anziehungskraft ist zwar schwer feststellbar, es ist jedoch Bedeutung, die bei Generationen von verbunden, denn er veränderte damit mit besitzt, die mehrere Generationen überdauert vielleicht bedeutungsvoll, daß er in Eugen Interpreten wie Zuschauern einen tiefen einem Schlag den dem Original im hat und keine Grenzen kennt. Onegin auffallender und gezielter auf Eindruck hinterlassen hat. wesentlichen zugrundeliegenden Es war zwar Tschaikowskys Reaktion auf Vergangenes zurückgreifende Motive einsetzt Erzählcharakter. Puschkin, die den grundlegenden Charakter als in seinen früheren Opern. © Ewan West

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Inhaltsangabe reichen, jedoch treulosen Bauern zurückweist, füreinander. Währenddessen verwickelt Onegin erzählt hat, spricht Tatjana von ihren eigenen kommen Tatjana und Olga zum Zuhören Tatjana in ein höfliches und ziemlich gespreiztes aufgewühlten Gefühlen. COMPACTDISC1 heraus. Gespräch und fragt sie, wie sie in dieser 17 Nachdem Filipjewna sich entfernt hat, 5 Das Volkslied spricht die beiden ländlichen Umgebung glücklich sein könne, wo begibt Tatjana sich an ihr Schreibpult und Erster Akt charakterlich völlig verschiedenen Schwestern es so wenig Zerstreuung und Gesellschaft gebe; beginnt, einen Brief an Onegin zu verfassen. auf unterschiedliche Weise an. In der ernsteren, ihre Antwort, daß sie ihre Zeit mit Lesen und Nach anfänglichem Zögern schreibt sie in 1 Orchestervorspiel verträumteren Tatjana weckt der Gesang eine Tagträumereien verbringe, verrät, daß sie im fliegender Hast von ihren Gefühlen für ihn. undefinierbare Sehnsucht; die lebenslustigere Grunde ihres Wesens romantisch veranlagt ist. 18 Sie schreibt, daß ihr Herz sie dazu 1. Szene Olga dagegen will einfach nur mittanzen. 11 Während sich Onegin und Tatjana veranlaßte, ihm ihre Liebe zu offenbaren. Falls Im Garten des Larinschen Landgutes an einem 6 Olga wiederholt die Worte der Bauern und entfernen, verleiht Lenski seinen Gefühlen für sie ihn nie getroffen hätte, hätte sie irgendwann Spätsommerabend. Frau Larina kocht Obst ein, singt von ihrem unbekümmerten Gemüt und Olga beredten Ausdruck; diese werden von vielleicht einen anderen geheiratet. wobei ihr die Amme Filipjewna behilflich ist. ihrer Lebensfreude. Herzen erwidert. 19 Als sie sich vom Schreibpult erhebt, wird ihr 2 Man hört die beiden Töchter Larinas, 7 Als die Bauern abgehen, wollen Larina und 12 Die Nacht bricht herein, und Larina bittet bewußt, daß es nie einen anderen geben könnte. Tatjana und Olga, im Haus ein Volkslied Filipjewna wissen, warum Tatjana so ihre Gäste zum Abendessen ins Haus. 20 Sie hatte ihn immer geliebt. singen, das von einem liebeskranken jungen bekümmert aussieht; sie befürchten, sie sei Filipjewna beobachtet, wie Onegin Tatjana 21 – 22 Sie setzt ihren Brief damit fort, daß sie Schäfer handelt. Es erweckt in Larina krank. Sie meint jedoch, daß die ergreifende hineinbegleitet. Die Amme glaubt Anzeichen Onegin instädig bittet, sie aus ihrem Erinnerungen, und gemeinsam mit Filipjewna Liebesgeschichte, die sie gerade lese, sie nur dafür zu entdecken, daß der Besucher es aufgewühlten Zustand zu erretten. gedenkt sie der Romanzen ihrer Jugendjahre tief beeindruckt habe. ihrem Schützling angetan hat. 23 Als der Morgen anbricht, ist der Brief fertig. und der anschließenden, von den Eltern in die 8 Der junge Landbesitzer Lenski, der Olga Filipjewna kommt, um Tatjana zu wecken. Wege geleiteten Ehe. seit einiger Zeit den Hof macht, tritt auf. Er 2. Szene 24 Diese bittet sie um einen Gefallen, zu dem 3 Eine Gruppe Bauern, müde von ihrer hat seinen Freund und neuen Gutsnachbarn, Tatjanas Schlafgemach, später am selben Abend sich die Amme bereiterklärt. Arbeit auf den Feldern, tritt aus. Ihr Anführer Eugen Onegin, mitgebracht. 13 Orchestervorspiel 25 Tatjana vertraut ihr die Liebeserklärung an überreicht Larina eine geschmückte 9 Während Onegin Lenski über Tatjana 14 Filipjewna meint, es wäre für Tatjana Zeit, und bittet sie, dafür zu sorgen, daß sie Onegin Korngarbe zum Zeichen, daß die gesamte ausfragt, wird sie sich bewußt, daß seine schlafen zu gehen. übermittelt wird. Ernte wohlbehalten eingebracht worden ist. Erscheinung in ihr unerwartete Sehnsüchte 15 Während Tatjana sich auf die Nacht 4 Auf Larinas Bitte hin feiern die Bauern mit geweckt hat. Es dauert nicht lange, bis Olga vorbereitet, fragt sie Filipjewna über die 3. Szene einem Erntetanz und Gesang. Als sie die bemerkt, daß sich die Laune ihrer Schwester Vergangenheit aus. Auf dem Larinschen Landgut, am nächsten Tag Geschichte von der Müllerstochter zum besten geändert hat. 16 War sie jemals verliebt? Nachdem die 26 Ein paar Bauernmädchen singen beim geben, die die Annäherungsversuche eines 10 Olga und Lenski erklären ihre Liebe Amme die Geschichte ihrer trostlosen Ehe Beerenpflücken ein Lied.

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27 Tatjana tritt auf. Sie ist beunruhigt 2 Die Gäste, viele davon Gutsnachbarn, 9 Lenski beginnt mit Onegin zu streiten und 14 Lenski ist von düsteren Vorahnungen darüber, daß Onegin gekommen ist, um sie zu bringen ihre Freude über das Ereignis zum beschuldigt ihn, sich an Olga heranzumachen. erfüllt; er fühlt, daß er in dem Duell sein sehen: Inzwischen bereut sie ihre Impulsivität Ausdruck; der Ball ist eine willkommenen Onegin versucht ihn zu beruhigen, aber Leben lassen wird. Es gedenkt seiner bereits. Abwechslung vom üblichen Alltagstrott. Lenski ist mit Vernunft nicht beizukommen. Jugendtage und seiner Liebe zu Olga. 28 Er verhält sich ihr gegenüber ziemlich 3 Onegin, den Lenski mitgebracht hat, tanzt Er fordert Onegin zum Duell. Madame Larina 15 Onegin erscheint mit seinem Diener kühl, denn obwohl der Brief in ihm alte mit Tatjana. Darüber fallen einige ist empört:In ihrem Haus! 16 Während ihre Sekundanten sich beraten, Gefühle weckte, ist er überrascht, daß sie Bemerkungen, denn die Gesellschaft erachtet 10 Lenski erinnert sich an die glücklichen unternehmen Onegin und Lenski einen einem verhältnismäßig Fremden so freiheraus ihn wegen seines unliebenswürdigen Wesens Tage, die er früher in Larinas Haus letzten aussichtslosen Versuch zur schreiben sollte. und seines berühmt-berüchtigten verbrachte. Tatjana ist entsetzt bei dem Versöhnung. Im darauffolgenden Duell wird 29 Onegin meint, daß er, falls er vorgehabt Lebenswandels Tatjanas unwürdig. Gedanken, daß Onegin getötet werden Lenski getötet. hätte, ein glückliches Eheleben zu führen, sich 4 Onegin bekommt ihre Bemerkungen mit und für immer für sie verloren sein könnte, keine würdigere Partnerin als Tatjana erhoffen und beschließt, sich an Lenski dafür zu rächen, während Olga, Larina und die versammelte Dritter Akt hätte können. Er fühlt sich jedoch nicht mehr daß er ihn dazu überredet hat, den Ball zu Gesellschaft die jungen Männer dafür zur Ehe bestimmt und glaubt, daß er Tatjanas besuchen. Er besteht darauf, mit Olga zu tanzen. rügen, daß sie so blind und impulsiv 1. Szene Liebe nicht erwidern kann. 5 Lenski ist eifersüchtig wegen der handeln. Onegin bereut sein Vorgehen Mehrere Jahre später. Fürst Gremins Palais in 30 Während die Bauernmädchen weiterhin ihr Aufmerksamkeit, die Olga Onegin schenkt insgeheim. St. Petersburg. fröhliches Lied singen, rät Onegin Tatjana, und beschuldigt sie, mit ihm zu flirten. Olga, 11 Er nimmt Lenskis Herausforderung 17 Die Gäste tanzen eine Polonaise und sich in Selbstbeherrschung zu üben und auf die lediglich unbekümmert ist, meint, Lenski jedoch an, um ihm eine Lehre dafür zu bilden dann kleinere Gruppen, um sich zu einen passenderen Gemahl zu warten. sei albern, wegen eines harmlosen Tanzes so erteilen, daß er Harmlosigkeiten derart töricht unterhalten. ein Theater zu machen, und willigt ein, noch mißdeutet. 18 Onegin ist nach mehreren Jahren ruheloser COMPACTDISC2 einmal mit Onegin zu tanzen, um Lenski noch Wanderfahrten, auf denen er seiner mehr aufzuziehen. 2. Szene Vergangenheit zu entkommen suchte, nach Zweiter Akt 6 – 7 Der Franzose Triquet gibt einige Eine Wassermühle am Ufer eines Waldbaches. St. Petersburg zurückgekehrt. Er kann jedoch Couplets zum besten, die er Tatjana zu Ehren Es ist früher Morgen, die Sonne ist gerade erst noch immer nicht vergessen, daß er den 1. Szene geschrieben hat. aufgegangen. einzigen Freund tötete, den er je schätzte und Im Ballsaal des Larinschen Hauses im 8 Der nächste Tanz wird angesagt: Mazurka. 12 Orchestervorspiel. dessen Bild ihn noch immer ständig darauffolgenden Januar. Es ist Tatjanas Namenstag, Onegin tanzt wieder mit Olga und geleitet sie 13 Saretzki, Lenskis Sekundant, wartet heimsucht. Die anderern Gäste äußern sich und ihr zu Ehren wird ein Ball gegeben. dann auf ihren Platz. Lenski beobachtet sie ungeduldig auf Onegin und fragt sich, ob über seine düstere Erscheinung. 1 Man tanzt einen Walzer. die ganze Zeit. dieser sich verirrt hat. 19 Ecossaise.

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20 Fürst Gremin tritt mit seiner Gattin, die 25 Tatjana hat einen Brief von Onegin Mit ihrem sensationellen Debüt als Gräfin in Tatjana sowie Bizets Micaela und Gounods niemand anderer als Tatjana ist, ein. Onegin erhalten, in dem er ihr seine Gefühle Le nozze di Figaro am Royal Opera House, Marguerite. erkennt sie, allerdings nicht ohne für sie offenbart. Weinend erinnert sie sich Covent Garden wurde Kiri Te Kanawa Zu ihren vielbeachteten Schwierigkeiten, denn sie hat sich von einem daran, was sie einmal für ihn empfand. Onegin praktisch über Nacht zur Legende. Sie rückte Schallplattenaufnahmen gehören Gesamt- einfachen Provinzmädchen zu einer würdigen tritt ein und erfleht ihr rasch an die Spitze der internationalen Oper einspielungen von Don Giovanni, Le nozze di Fürstin gewandelt. Tatjana erkundigt sich Erbarmen. auf und gehört heute zu den berühmtesten Figaro, Così fan tutte, Die Zauberflöte und Tosca, nach dem Fremden, der sich inzwischen mit 26 Tatjana trocknet ihre Tränen und erinnert Sopranistinnen der Welt. Zum Zeitpunkt ihres La rondine und Manon Lescaut sowie Simon ihrem Gatten unterhält. Es gelingt ihr, ihre Onegin an ihr erstes Treffen und daran, wie ersten Opernauftritts hatte sie bereits Boccanegra, Arabella, Otello, La traviata, Der Erregung zu verbergen, als sie Onegins kalt – und ihrer Ansicht nach grausam – er Erfahrung als eine Konzert- und Schallplatten- Rosenkavalier, Faust, Carmen, Capriccio und La Namen hört. ihre jugendlichen Liebeserklärungen künstlerin gesammelt, die vor der Kamera bohème, aber auch Sammlungen von Arien aus 21 Der nicht mehr junge Fürst Gremin erzählt aufgenommen hatte. Ihr ist nun bewußt, wie ebenso in ihrem Element war wie auf der dem französischen, italienischen und Onegin von der tiefen Liebe, die er für seine recht er damals hatte, denn sie war tatsächlich Bühne. Mit zunehmender Reife als deutschen Opernrepertoire. junge Gattin empfindet, und davon wie sie naiv und simpel gewesen. Liebt er sie jetzt Recitalsängerin ist sie heute in den Kiri Te Kanawa wurde 1982 als Dame Kiri sein sonst unergiebiges Dasein von Grund auf bloß, weil sie reich ist und Beziehungen in verschiedensten musikalischen Gattungen eine in den britischen Adelsstand erhoben und veränderte. höheren Kreisen hat? der gefragtesten Interpretinnen. 1995 in der Queens Birthday Honours List 22 Onegin und Tatjana werden von Fürst 27 Trotz Onegins Beteuerungen wird sie nicht Kiri Te Kanawa ist ein gern gesehener mit dem begehrten Order of New Zealand Gremin miteinander bekannt gemacht und schwach. Gast in den führenden Operhäusern der ausgezeichnet. bestätigen flüchtig ihre frühere Bekanntschaft. 28 Sie ist zwar einen Augenblick lang Welt – ob in London (Covent Garden), New 23 Als Tatjana den Ball verläßt, sinnt Onegin versucht, der Liebe nachzugeben, die erneut in York (Met), Chicago (Lyric Opera), Paris, Die Vielseitigkeit und das breite über die Veränderungen nach, die ihr ihrem Herzen aufzuflammen beginnt, aber sie Sydney, Wien, Mailand, San Francisco, Leistungsspektrum des amerikanischen widerfahren sind. Er bereut nun, daß er sie muß ihrem Gatten die Treue halten. München, Köln oder Verona. Sie verkörpert Starbaritons Thomas Hampson im Bereich einmal abwies, ist von neuer Leidenschaft 29 Sie bittet Onegin zu gehen. Dann eilt sie die drei großen lyrischen Sopran-Heldinnen von Oper und Lied, Studioarbeit und entflammt und beschließt, ihr seine Liebe zu aus dem Zimmer und läßt den von von Richard Strauss (Arabella, die Marschallin Musikwissenschaft sind unumstritten. Seine offenbaren. Verzweiflung überwältigten Onegin über und die Gräfin in Capriccio), Mozarts Fiordiligi, internationale Karriere hat ihn auf die sein erbärmliches Schicksal nachgrübelnd Donna Elvira, Pamina und Gräfin Almaviva, berühmtesten Opern- und Konzertbühnen der 2. Szene zurück. Verdis Violetta, Amelia Boccanegra und Welt geführt und zu einem der angesehensten, Ein Zimmer im Palais des Fürsten Gremin, am Desdemona, Puccinis Tosca, Mimì innovativsten und begehrtesten Solisten nächsten Morgen © Ewan West und Manon Lescaut, die Rosalinde von Johann unserer Zeit gemacht. Seine Liebe zum Lied 24 Orchestervorspiel Übersetzung: Johanna Mayr Strauss und Tschaikowskys findet nicht nur in seiner Lehrtätigkeit

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Ausdruck, sondern auch in seiner Hampsons sind mit Auszeichnungen Rosenshein nach Covent Garden (Lenski in Guest), Alter Sträfling (Lady Macbeth von Repertoireforschung und der Entwicklung von gewürdigt worden, darunter sechs Grammy- Eugen Onegin und Steva in Jenuofa), an die Pariser Mtsensk), Basilio (Il barbiere di Siviglia), Dansker Multimediaprojekten, wie Voices from the Heart, Nominierungen und drei Gramophone Awards. Opéra und die Hamburger Staatsoper (Billy Budd ), Banquo (Macbeth), Pogner (Die einer Performance-Dokumentation über die (Alfredo), nach Zürich (Belmonte in Die Meistersinger) und Sarastro Musik von Stephen Foster für den Hessischen Der vielseitige amerikanische Tenor Neil Entführung aus dem Serail ), an die Opéra de (Die Zauberflöte) erlebt hat. Er hat auch Rundfunk und Arte. Rosenshein ist für seine unvergesslichen Lausanne (Cavaradossi und Werther), das für die Royal Opera und Opera North Die Opernrollen Hampsons sind breit Bühnendarstellungen ebenso bekannt wie für Grand Théâtre de Genève (Tom Rakewell in gesungen. gefächert – von Rossini über Verdi bis Puccini seine intelligente Musikalität. Der Erfolg The Rake's Progress) und die Niederländische Zu seinen Schallplattenaufnahmen gehören und von Monteverdi über Britten bis Henze. begleitet ihn in Opernhäusern und Oper (Titelrollen in Don Carlos und Peter Grimes (für Chandos), Billy Budd, Elijah, Großen Anklang fand er in neuerer Zeit mit Konzertsälen, mit einem Repertoire von Zemlinskys Der Zwerg) geführt. Außerdem ist Szymanowskis Stabat Mater und Vaughan den Titelrollen in Guillaume Tell (Wien), Eugen Komponisten des Barock bis in das er in Essen, Bonn, Brüssel, Lissabon, Lille, Williams’ Serenade to Music. Für die BBC hat er Onegin (Wien und Paris), Hamlet von Ambroise 20. Jahrhundert. Nizza, Marseilles, Toulouse, Lyon und an der an einer Rundfunkaufnahme der Studiooper Thomas (Monte Carlo und San Francisco) und In der Saison 2000/2001 singt Neil New Israeli Opera aufgetreten. In Japan hat er The Burghers of Calais mitgewirkt. Er hat in in der selten gehörten Baritonversion von Rosenshein den Herodes in Salome mit der den Lenski beim Pacific Music Festival und Konzertaufführungen von der Walküre in Massenets Werther (New York); er überzeugte Milwaukee Symphony und Tichon in Katja den Solotenor in Beethovens Neunter bei Spanien, Sarastro mit der Welsh National als Père Germont in La traviata (Zürich), als Kabanowa an der Houston Grand Opera. einem Friedenskonzert in Hiroshima Opera und Padre Guardiano (La forza del Rodrigue, Marquis von Posa, in der Sein Debüt an der Met gab er als Alfredo in gesungen. destino) mit der English National Opera französischen Originalversion von Verdis Don La traviata, bevor er dort die Titelrolle in gesungen. Carlos (Paris, London, Edinburgh), als Gounods Faust, den Prinzen in einer John Connell studierte am Royal Northern Wolfram in Wagners Tannhäuser (Zürich), als Neuinszenierung von Rusalka, die Titelrolle in College of Music bei Patrick McGuigan und Nicolai Gedda gilt international als einer der Busonis Doktor Faust (Salzburg) und Peter Grimes und sowohl Alfred als auch am National Opera Studio. Er debütierte an größten Sänger unserer Zeit. Er beherrscht ein Szymanowskis König Roger (Birmingham). Für Eisenstein in der Fledermaus sang. Als der English National Opera als Ramphis in weit gespanntes Repertoire, in dem fast alle die Saison 2000/2001 standen für ihn Doktor Spezialisten im französischen Repertoire hat Aida und sang im Jahr darauf als Erster Baß Stilrichtungen und Epochen von Oper und Faust (New York), Hamlet (Paris) sowie Eugen man ihn an der Met in der Titelrolle von des Ensembles. Inzwischen tritt er regelmäßig Oratorium, Operette, Lied und Orchesterwerk Onegin, Guillaume Tell, Die lustige Witwe und Werther erlebt, und als Don José ist er mit der als Gastsänger an der English National Opera vertreten sind. Linda di Chamounix (Wien) und – zum Met in the Parks in Carmen aufgetreten. Er hat auf, wo man ihn als Commendatore (Don Der gebürtige Schwede (er entstammt einer erstenmal überhaupt – Oreste in Glucks an allen namhaften Opernhäusern der Giovanni), Colline (La bohème), Mönch (Don russisch-schwedischen Famile) debütierte 1952 Iphigénie en Tauride in Salzburg auf dem Vereinigten Staaten gastiert. Carlos), Erste Stimme (Busonis Doktor Faust), an der Königlichen Oper in Stockholm in Programm. Fast alle Schallplattenaufnahmen Seine Europaverpflichtungen haben Neil Ferrando (Il trovatore), Leporello (The Stone Le Postillon de Longjumeau. 1953 trat ererstmals

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an der Mailänder Scala auf, 1954 an der Pariser Die in Dublin geborene Patricia Bardon Welsh National Opera, Scottish Opera, Teatro Colon in Buenos Aires, nach San Opéra und 1957 an der Met (in der Titelrolle machte auf sich aufmerksam, als sie aus dem English National Opera und in Glyndebourne Diego, Miami und Seattle geführt. Neben von Gounods Faust). In Covent Garden, wo er ersten internationalen Sängerwettbewerb erlebt. In ihrem Terminkalender stehen vielen anderen Rollen hat er Massenets Don 1965 als Herzog von Mantua in Verdis Rigoletto “Singer of the World” in Cardiff siegreich künftige Auftritte an der Chicago Lyric Opera, Quichotte (English National Opera und Victoria debütierte, sang er später auch Benvenuto hervorging. Seitdem hat sie sich als Opern- dem Maggio Musicale mit Zubin Mehta, der State Opera), Theseus (The Fairy Queen), Cellini, Alfredo, Gustavo III. in der und Konzertsängerin in aller Welt etabliert. Münchner Staatsoper, der English National Basilio, Alter Mann (King Priam, Oper von Originalfassung von Un ballo in maschera, Sie hat die Arsace (Semiramide) in La Fenice Opera und in Amsterdam. Flandern und ENO) sowie Don Jerome (La Nemorino und Lenski. Er schuf Hauptrollen in Venedig gesungen, die Titelrolle in Mit ihrem umfangreichen und weit Dueña, Opera North) gesungen. in Barbers Vanessa und Menottis The Last La Cenerentola an der Monnaie in Brüssel, die gespannten Konzertrepertoire ist Patricia Richard Van Allan hat zahlreiche Savage an der Metropolitan Opera. Titelrolle in Carmen an der Hamburger Bardon an der Scala, in Madrid, Brüssel, Schallplatten vorgelegt, u.a. Mozarts Così fan Seine Operntriumphe reichen von der Welt Staatsoper, Welsh National Opera und Berlin, bei den Festspielen von Edinburgh und tutte mit Montserrat Caballé, Janet Baker und Haydns und Mozarts bis zu Strawinski, Orff, Scottish Opera, die Penelope (Il ritorno Montreux, in Cincinnati und Tokio Ileana Cotrubas unter der Leitung von Barber und Menotti; zugleich gilt er als d'Ulisse in patria) am Maggio Musicale in aufgetreten. Unter ihren Schallplatten- Sir Colin Davis, Don Giovanni mit Bernard herausragender Liedinterpret. Nicolai Gedda Florenz und in Athen mit Trevor Pinnock, aufnahmen sind Orlando, Elijah, Erda (Das Haitink, Raleigh (Brittens Gloriana) mit hat mit fast allen großen internationalen die Titelrolle in Händels Orlando in New Rheingold für Chandos/Peter Moores Sir Charles Mackerras, Billy Budd und –für Dirigenten der letzten 35 Jahre York, Paris, Lyon, Straßburg und Montpellier Foundation), Amastris (Serse), und Rigoletto Chandos – Roberto Gerhards La Dueña. zusammengearbeitet, darunter Beecham, mit William Christie und Les Arts hervorzuheben. Bernstein, Giulini, Klemperer und Solti. Mit Florissants, Smeton (Anna Bolena) in San Linda Finnie wurde in Schottland geboren 200 Schallplattenaufnahmen verfügt er auch Francisco, Amastris (Serse) an der Münchner Richard Van Allan ist einer der und studierte an der Royal Scottish Academy über die umfangreichste Diskographie eines Staatsoper mit Ivor Bolton sowie in Dresden herausragenden Baßbaritone Großbritanniens. of Music and Drama und an der Royal Tenors. Hierzu zählen Gesamteinspielungen und Montpellier, Juno (Semele) in Innsbruck Als Mitglied der English National Opera hat Academy of Music. Sie hat für alle namhaften von Guillaume Tell, La bohème, Faust, Werther, mit René Jacobs, die Titelrolle in Tamerlano er dort viele berühmte Rollen gesungen und britischen Operngesellschaften gesungen – so Manon, Così fan tutte und Benvenuto Cellini. bei den Festspielen von Beaune, Helen (King ist darüber hinaus in Covent Garden, an der für die English National Opera die Brangäne Nicolai Gedda gastierte vor kurzem mit Priam) an der Vlaamse Oper in Antwerpen Opera North, Glyndebourne Festival Opera, (Tristan und Isolde), Eboli (Don Carlos), Amneris einem hocherfolgreichen Opern- und und die Dritte Dame (Die Zauberflöte) in Welsh National Opera und Scottish Opera (Aida), Ortrud (Lohengrin) und Ulrica (Un ballo Operettenabend am Royal Opera House und Verona. Außerdem hat man sie in Guillaume aufgetreten. Außerdem ist er Leiter des in maschera) und für die Royal Opera, Covent kehrte wenig später mit einer Neuinszenierung Tell, Mosè in Egitto, Rigoletto, La fanciulla del National Opera Studio. Seine Garden die Waltraute (Götterdämmerung). von Pfitzners Palestrina nach Covent Garden West und Mefistofele in Covent Garden sowie Auslandsverpflichtungen haben ihn an die Außerdem ist sie in Paris, Genf, Frankfurt, zurück. in zahlreichen Rollen an der Opera North, New Yorker Met, die Pariser Opéra, das Flandern, Lille, Nizza,

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Wien, Tokio, Singapur, Australien, Neuseeland Das Orchester der Welsh National Opera einenNamen und fand mit seinen Opern- hatte, die dazu führte, daß JanácŠeks Werke und bei den Bayreuther Festspielen wurde 1970 gegründet. Seitdem hat es sich zu und Konzertdarbietungen breiten Anklang, ihren Weg ins britische Standardrepertoire aufgetreten. einem der besten Orchester Großbritanniens nicht nur im traditionellen Repertoire, wie fanden. Er war Chefdirigent an der Hamburger Linda Finnie hat zahlreiche Schallplatten- entwickelt, das für seine herausragende Verdi, sondern auch mit Werken des Oper (1966–69) und Musikdirektor an der aufnahmen für Chandos gemacht, darunter Leistung in einem breiten Opernrepertoire 20. Jahrhunderts, wie Tippetts A Midsummer Oper von Sadler’s Wells, der nachmaligen Werke von Bliss, Diepenbrock, Korngold und ebenso berühmt ist wie für seine Marriage und Janácveks Aus einem Totenhaus. Der English National Opera (1970–77) sowie der Respighi sowie Zyklen von Mahler-Liedern, Konzertauftritte und Schallplattenaufnahmen. Chor hat viele Opern aufgenommen, darunter Welsh National Opera (1987–91), wo unter Elijah, Elgars Sea Pictures und The Light of Life Unter der musikalischen Leitung von Andrea Chénier mit Riccardo anderem seine bemerkenswerten JanácŠek- sowie Prokofjews Iwan der Schreckliche Richard Armstrong (1973 bis 1986) baute Chailly, Tristan und Isolde und Parsifal mit Inszenierungen große Beachtung fanden. Die (ausgezeichnet mit dem Deutschen das Orchester ein vielseitiges Opernrepertoire Reginald Goodall, I masnadieri, Norma, Hamlet, Inszenierung und Einspielung von Osud Schallplattenpreis). auf. Auf diese Zeit geht auch die Ernani, Anna Bolena und Adriana Lecouvreur wurden von der Peter Moores Foundation Zusammenarbeit mit Reginald Goodall mit Richard Bonynge, Tosca mit Georg Solti gefördert. Sir Charles Mackerras ist Elizabeth Bainbridge wurde in Lancashire zurück. 1987 übernahm Sir Charles Mackerras und Rigoletto, Faust und Ehrendirigent des Scottish Chamber geboren und hat an der Guildhall School of die musikalische Leitung, und das Orchester Un ballo in maschera mit Carlo Rizzi sowie The Orchestra, Emeritus-Dirigent der Welsh Music and Drama studiert. Sie gab 1964 ihr widmete sich verstärkt der Studioarbeit. Zuvor Mikado, The Pirates of Penzance, The Yeomen of National Opera, erster Gastdirigent der Royal Opera Covent Garden Debüt in der hatte man bereits unter der Leitung von the Guard, Brittens Gloriana und Janácveks Osud San Francisco Opera und seit der Spielzeit Walküre und trat im folgenden Jahr dort ins Richard Bonynge mehrere Operngesamt- mit Mackerras. Unter den aufgenommenen 1998/99 Musikdirektor des Orchestra of St Ensemble ein. Zu ihren Partien gehören aufnahmen mit Joan Sutherland, Montserrat Konzertstücken sind Sea Drift von Delius, The Luke’s in New York. Er arbeitet seit vielen Mistress Quickly, Suzuki, Amneris, Emilia, Caballé, Pavarotti und anderen weltberühmten Vigil of Venus von George Lloyd und Jahren mit der Royal Opera, Covent Garden Erda, Arvidson, Filipjewna, She-Ancient Sängern eingespielt. Mit Mackerras nahm das Hiawatha von Coleridge-Taylor zusammen und dirigiert regelmäßig (The Midsummer Marriage), die alte Buryjovká Orchester Janácveks Osud (CHAN 3019) auf. hervorzuheben. Aufführungen an der Metropolitan Opera, (JenuÞfa) und Auntie (Peter Grimes). Sie hat mit Seit 1992 liegt die musikalische Leitung bei New York. der Royal Opera am Teatro alla Scala gastiert Carlo Rizzi. 1995 wurde das Orchester der Sir Charles Mackerras wurde 1925 als Kind Sir Charles Mackerras hat sich intensiv mit (1976), außerdem in Südkorea und Japan Welsh National Opera in der Kategorie australischer Eltern in den USA geboren und der Aufführungspraxis des 18. und (1979), beim Olympic Arts Festival in Los Großes Ensemble mit dem Musikpreis der studierte in Sydney und Prag. Sein Debüt 19. Jahrhunderts befaßt, was seine Angeles (1984) und beim Athener Festival Royal Philharmonic Society ausgezeichnet. als Operndirigent feierte er in Sadler’s Wells musikalischen Interpretationen wesentlich 1985. Zu ihren Aufnahmen zählen Norma, Les Opera, wo er wesentlichen Anteil an der beeinflußte. Seine beeindruckende Troyens, Das schlaue Füchslein, Dido and Aeneas Der Chor der Welsh National Opera Produktion der sensationellen britischen Diskographie umfaßt den preisgekrönten und The Midsummer Marriage. existiert seit 1968. Er machte sich schnell Erstaufführung von JanácŠeks Katja Kabanowa Zyklus der Opern JanácŠeks mit den Wiener

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Philharmonikern, Brittens Gloriana und Sir Charles Mackerras wurde 1974 mit dem Alexander Pushkin DvoŠráks Rusalka (beide ausgezeichnet mit CBE ausgezeichnet und 1979 für seine einem Gramophone award), die Sinfonien von Verdienste um die Musik geadelt. Außerdem Beethoven, Brahms und Mahler sowie erhielt er die Verdienstmedaille der Handels Giulio Cesare und Donizetti’s Maria Tschechischen Republik, den Chopin-Preis Stuarda mit der English National Opera (für und wurde zum Mitglied des Order of Chandos/Peter Moores Foundation). Australia ernannt. A K G Lon d on St Petersburg: The Winter Palace(1856) by A.H. Payne A K G Lo n don

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travail: une seule nuit blanche lui suffit pour jusqu’alors jamais identifié si étroitement avec Tchaïkovski: Eugène Onéguine effectuer l’ébauche de scénario complet qu’il aucun de ses projets dramatiques. Dans une présenta le lendemain à son ami Constantin certaine mesure, il est peut-être possible Comme il est agréable d’éviter la routine de tous en aucun cas contenir une action suffisante Chilovski, lui demandant d’en faire un libretto d’expliquer ce fait par la prise de conscience ces pharaons, princesses éthiopiennes, coupes pour soutenir une œuvre théâtrale complète, aussi rapidement que possible. Dès le début, croissante qui fut la sienne que sa musique empoisonnées et tout le restant de ces histoires car l’histoire sur laquelle Pouchkine avait bâti Tchaïkovski sentit qu’il lui faudrait adopter serait le véhicule qui lui permettrait de fournir d’automates. Il y a tant de poésie dans Onéguine! ses vers élégants était ténue. Néanmoins, en une démarche essentiellement radicale si le le pendant idéal du style narratif sophistiqué Voici ce qu’écrivit Tchaïkovski à son frère l’espace de quelques jours, le compositeur fut projet devait réussir, fait qu’il prit un soin de Pouchkine, cet élément de l’original, qui, Modeste en Mai 1877, tandis que le prompt à changer d’avis et à reconnaître qu’en particulier à expliquer à Chilovski. Plus que contrairement à la substance dramatique, ne compositeur commençait à travailler à son définitive, le manque de qualités dramatiques toute autre chose, il voulait éviter les pouvait être directement transplanté sur la nouvel opéra, Eugène Onéguine. du poème pouvait être surmonté par la conventions déshumanisantes régissant l’opéra scène d’opéra. Néanmoins, dès ses premières C’était la chanteuse Elizaveta Lavrovskaïa “richesse de sa poésie” à laquelle s’ajoutaient de son époque, qui, lui semblait-il, ne lectures du texte de Pouchkine, il avait été très qui lui avait récemment suggéré au cours son “humanité” et sa “simplicité”. Il était pourraient faire valoir la fécondité du texte de profondément touché par l’épisode dans d’une réception d’envisager de baser un opéra avant tout sûr de pouvoir produire à l’opéra Pouchkine. Fait révélateur, il se dispensa lequel Tatiana passe la nuit assise à écrire une sur le “roman en vers” de Pouchkine. La une version d’Eugène Onéguine qui compléterait bientôt complètement des services de déclaration d’amour aussi impulsive réaction initiale de Tchaïkovski, comme celle véritablement l’œuvre sur laquelle elle était Chilovski, prenant lui-même en main la mise qu’innocente à Onéguine pour voir ses de la plupart de ses amis et connaissances, fut basée, plutôt que d’en détruire le caractère en forme du libretto afin d’obtenir une œuvre avances cruellement rejetées lors de leur d’abord défavorable et il fut tenté de rejeter essentiel, s’attirant ainsi l’opprobre des qu’il devait décrire, avec une précision rencontre du matin suivant. C’est en effet avec sur le champ l’idée d’Eugène Onéguine pour se nombreux admirateurs de Pouchkine. Bien caractéristique, comme un ensemble de l’intention de faire de ce passage (dont une concentrer plutôt sur deux autres suggestions qu’il ne réussît pas entièrement sur ce plan – “scènes lyriques en trois actes”. partie fournit la base de la célèbre “scène de la plus prometteuses, Othello de Shakespeare et Tourgueniev, par exemple, trouva beaucoup à Bien que ce ne fût pas le premier opéra de lettre”) le centre d’où jaillissent les émotions Cinq-mars d’Alfred de Vigny. L’œuvre de critiquer dans le libretto – on reconnaît Tchaïkovski – il avait déjà travaillé à plusieurs de l’opéra que Tchaïkovski ébaucha son Pouchkine était assurément bien trop subtile et généralement de nos jours que, avec Eugène projets qui n’avaient pas abouti, y compris une scénario. Le passage devait bientôt prendre jouissait d’une considération bien trop élevée Onéguine, Tchaïkovski produisit à la fois son mise en musique de Boris Godounov de une signification bien plus personnelle. dans les cercles littéraires pour qu’il osât lui propre chef d’œuvre à l’opéra et une des Pouchkine, un traitement de la légende Inspiré comme il l’était manifestement par faire subir un traitement d’opéra, contributions les plus durables apportées au d’Ondine, sans oublier un opéra historique l’image de Tatiana, amoureuse éconduite, il est particulièrement du fait de tout le respect des répertoire russe du dix-neuvième siècle. Opritchnik, et ce qu’il appela plus tard son à peine surprenant que, après avoir produit conventions artificielles que cela supposerait. Une fois que son intérêt fut éveillé, “brillant échec”, Vakoula le forgeron (révisé plus son scénario, Tchaïkovski eût lieu de De plus, à première vue, l’œuvre ne semblait Tchaïkovski fut impatient de se mettre au tard sous le nom de Tchérévitchki) – il ne s’était reconsidérer sa réaction vis à vis d’une lettre

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d’amour non sollicitée qu’il avait reçue lui apporter à la fois une aide matérielle et la Dès le début, il savait qu’idéalement sa conservatoire en décembre 1878. Le 29 mars quelques semaines plus tôt d’une jeune stimulation intellectuelle qui lui était vitale. partition exigerait des chanteurs affichant un 1879, Rubinstein dirigea la représentation de la étudiante du conservatoire. Pour le Leurs relations qui furent entièrement menées calibre différent de celui qui était facilement totalité de l’œuvre au théâtre Mali, avec parmi compositeur, la similarité existant entre sa par voie épistolaire et ne donnèrent jamais lieu trouvé dans les opéras de l’empire. “Où les effectifs, un chœur d’étudiants et un propre position et celle du personnage central à une rencontre devaient à partir de ce trouverai-je la Tatiana que Pouchkine a orchestre qui en était aussi constitué en grande de son nouvel opéra sembla probablememt moment-là devenir une des forces créatrices imaginée et que j’ai essayée de dépeindre en partie. Bien que le traitement donné par une intervention directe du destin, force dont les plus importantes de la vie de Tchaïkovski, musique?” écrivit-il. “Avec quelle vulgarité le Tchaïkovski à l’œuvre de Pouchkine fût décrié il était toujours prêt à prendre en compte les fait qu’il reconnut de manière touchante dans portrait captivant dépeint par Pouchkine sera- dans certains milieux, son nouvel opéra gagna avertissements. Craignant de jouer le rôle la dédicace qu’il donna à la Symphonie no 4 t-il rendu, quand il sera transféré à la scène, l’approbation de la majorité des critiques. d’Onéguine repoussant Tatiana, Tchaïkovski datant de cette époque, qui porte la mention avec ses conventions, ses traditions dénuées de Deux années plus tard, le 23 janvier 1881, accepta d’épouser Antonio Milioukova, bien “A ma meilleure amie”. Pendant tout le cours sens, ses vétérans des deux sexes qui acceptent Eugène Onéguine reçut sa première mise en que, ayant depuis longtemps accepté ses de l’année 1877 et le début de l’année 1878, sans la moindre honte des rôles de scène entièrement professionnelle au théâtre penchants homosexuels, il refusât d’envisager tandis qu’il voyageait tour à tour en Suisse, en jouvencelles de seize ans et de petits jeunets.” Bolchoï de Moscou. A la suite de cela, il gagna toutes relations physiques avec sa future France, en Italie et un Autriche afin de Une solution se présenta avec les élèves du bientôt une place permanente au sein du épouse. En l’occurrence, le mariage qui fut reprendre des forces, il continua à travailler à Conservatoire de Moscou qui, le pensait répertoire des compagnies de l’Europe entière. dûment célébré en juillet 1877 s’avéra à la fois l’opéra, tenant Nadezhda von Meck au Tchaïkovski, seraient peut-être plus aptes à se Si l’on prend en considération l’agitation bref et désastreux, plongeant le compositeur courant de ses progrès, jusqu’à ce que charger de sa partition que les chanteurs de avec laquelle Tchaïkovski aborda d’abord le dans une dépression dont la gravité le poussa finalement, en février 1878, à la suite d’un formation conventionnelle. En conséquence, sujet de son opéra, le succès d’Eugène Onéguine même à chercher la délivrance en tentant de se dernier débordement d’activité fiévreuse, il fut il s’était mis en contact avec son ami paraît encore plus remarquable. Il est peut-être suicider, quelques deux mois plus tard. en mesure d’annoncer l’achèvement de Rubinstein, le directeur du Conservatoire, au possible d’attribuer ceci en partie à sa La compositon d’Eugène Onéguine prit donc celui-ci. début du mois de novembre 1877, pour lui partition, qui montre avec abondance le niveau place avec, à l’arrière plan, de graves difficultés Tchaïkovski consacra alors son énergie à demander d’organiser la mise en scène d’une élevé d’invention mélodique, couleur et personnelles qui, bien que minant l’énergie du faire les arrangements nécessaires à la mise en partie de l’opéra, à savoir la totalité du premier lyrisme, auquel le public russe avait fini par compositeur, ne parvinrent jamais à le scène d’Eugène Onéguine. De même qu’il avait acte et la première partie du second. s’attendre de la part du compositeur. détourner totalement du projet en cours. Sa manifesté le désir ardent d’ouvrir de nouvelles Rubinstein qui douta initialement de la sagesse Néanmoins, Eugène Onéguine révèle aussi le guérison, lorsqu’elle survint, fut en grande voies par la façon dont il avait abordé la de ce plan, craignant qu’il ne porte un sens dramatique certain de son compositeur: partie due à l’amitié récente qui l’unissait à construction du libretto et sa mise en musique, préjudice durable à la carrière de Tchaïkovski, sa transformation d’un récit byronien en une Nadezhda von Meck, la mystérieuse veuve qui il avait aussi à tâche d’insuffler une vitalité et finit néanmoins par accepter et la répétition pièce de théâtre musical pleine d’effet lui en devenant sa protectrice, fut en mesure de une fraîcheur nouvelles à sa représentation. générale d’une version tronquée eut lieu au confère une place au premier rang des

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compositeurs d’opéra. Il faut avant tout la subtilité du poème ne peut être appréciée importante peut-être fut la visite que russes apportent une contribution énorme à la rendre dûment justice au don infaillible que par ceux qui sont au courant de la Tchaïkovski fit à Bayreuth en 1876 à l’occasion vitalité de l’opéra, le but essentiel de ce dernier qu’avait Tchaïkovski de savoir ce qui allait ou tension insidieuse qui existait entre société de la première de Der Ring des Nibelungen. Bien reste néanmoins de retracer le développement non faire de l’effet sur scène. Le fait d’avoir urbaine et société rurale dans la Russie du que l’influence qu’ait eu Wagner sur sa musique d’une histoire d’amour tragique dont la choisi d’articuler la composition de son opéra dix-neuvième siècle, tandis que l’opéra a un soit difficile à retracer, il est peut-être signification a une portée aussi universelle autour d’un certain nombre d’épisodes qu’il attrait qui a survécu au fil des générations et significatif qu’Eugène Onéguine fasse une qu’éternelle, une signification que avait sélectionnés dans le poème de a su traverser les barrières nationales. utilisation plus marquante des motifs de commentateurs et public n’ont cessée de Pouchkine s’avérait une stratégie pleine de Bien que ce fût la réaction de Tchaïkovski réminiscence que ne le font ses opéras plus comprendre depuis des générations. risques, car il avait par cela changé d’un seul vis à vis de l’œuvre de Pouchkine qui anciens. coup le caractère fondamentalement narratif détermina le caractère essentiel de son opéra, Sans aucun doute, l’influence musicale la plus © Ewan West de l’original. Néanmoins, ce que Tchaïkovski il faut aussi mentionner à juste titre les importante à marquer Tchaïkovski fut se montra prompt à voir, fut que cette nombreuses autres influences qui vinrent néanmoins celle de l’opéra de tradition indigène L’argument manière de procéder, grâce à laquelle peser sur l’œuvre. Tout comme dans sa qui s’était développé dans le pays au cours des l’attention se trouve fermement centrée sur musique orchestrale, il resta plus proche des quatre décennies qui avaient précédé, à la suite COMPACTDISC 1 les moments de l’histoire où les sentiments traditions de l’Europe occidentale que de la présentation d’Une Vie pour le tsar de atteignent leur comble, comme le rejet de beaucoup de ces contemporains, tels que Glinka en 1836. Le caractère russe du poème Premier acte Tatiana par Onéguine et les adieux de Lenski Balakirev et Cui, qui choisirent au contraire de Pouchkine se trouve rendu par l’adaptation au monde, allait donner à son opéra un attrait de suivre une ligne “slavophile” pleine de consciente que fait Tchaïkovski d’un grand 1 Introduction vraiment universel. Tout comme les grands défi. Ainsi, dans ses opéras, une grande partie nombre de caractéristiques propres à l’opéra de opéras de Mozart et de Verdi, Eugène Onéguine de l’inspiration se trouve puisée dans des style national: le chœur rustique des Scène 1 fait bien plus que de se contenter de ne œuvres extérieures au répertoire russe. En ce moissonneurs de l’Acte I a par exemple de La campagne, le jardin de la propriété de la famille présenter qu’une série d’événements par les qui concerne Eugène Onéguine, la découverte nombreux pendants, tout comme les danses Larin, un soir vers la fin de l’été. Madame Larina fait voies de l’opéra: au lieu de cela, il s’attache qu’il fit de Carmen de Bizet lors d’une visite à caractéristiques comme la polonaise de des confitures avec l’aide de Filipievna, nourrice de la surtout à dépeindre des personnages vraiment Paris en 1876 s’avéra très féconde:Modeste l’Acte III. Néanmoins, entre les mains de famille. humains faisant preuve d’actions et de nous dit que l’opéra fut “une des impressions Tchaïkovski, ces traits particuliers sont utilisés à 2 Venant de la maison, en entend les voix des sentiments avec lesquels le public est en musicales les plus fortes de sa vie”, en bien des fins bien différentes, car Eugène Onéguine est deux sœurs Larina, Tatiana et Olga, qui chantent mesure de s’identifier étroitement. En ce sens, que les deux opéras aient des intrigues très bien davantage un opéra réaliste à la manière de un chant folklorique racontant l’histoire d’un Tchaïkovski surpasse même ce que Pouchkine différentes, ils appartiennent aux mêmes La traviata de Verdi, qu’il n’est une œuvre de berger amoureux. Ceci réveillechez Madame parvient à accomplir, car une grande partie de sphères du monde des émotions.Toute aussi l’Ecole nationaliste. Tandis que les éléments Larina des souvenirs dont elle fait part à

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Filipievna, ceux de ses amours de jeunesse et d’amour qu’elle est en train de lire qui lui fait Scène 2 24 La jeune fille demande à la nourrice de lui celui de son mariage qui fut finalement cet effet. La chambre de Tatiana plus tard ce soir-là accorder une faveur, ce que cette dernière arrangé par sa famille. 8 Lenski, le jeune propriétaire terrien qui 13 Introduction. accepte. 3 Un groupe de paysans arrive, épuisés par courtise Olga depuis quelque temps arrive en 14 Filipievna dit à Tatiana que c’est l’heure de 25 Tatiana lui confie sa déclaration d’amour leur labeur dans les champs. Leur chef offre compagnie d’un nouveau voisin, son ami se coucher. en lui demandant de veiller à ce qu’elle soit une gerbe de blé décorée à Madame Larina Eugène Onéguine. 15 Tout en se préparant pour la nuit, Tatiana remise à Onéguine. pour symboliser la bonne fin de la récolte. 9 Tandis qu’Onéguine questionne Lenski au questionne Filipievna sur son passé. 4 A la demande de celle-ci, les paysans sujet de Tatiana, elle révèle que son arrivé a 16 A-t-elle jamais été amoureuse? Une fois Scène 3 marquent l’occasion en exécutant une danse éveillé en elle des désirs soudains. Olga n’est que la nourrice lui a raconté l’histoire de son Les terres de la famille Larin, le jour suivant accompagnée d’un chant célébrant la moisson. pas lente à s’apercevoir du changement lugubre mariage, Tatiana lui fait part de ses 26 Un groupe de jeunes paysannes chantent Alors qu’ils racontent l’histoire de la fille d’un d’humeur de sa sœur. émotions tumultueuses. en ramassant des baies. meunier et la manière dont elle a repoussé les 10 Olga et Lenski se déclarent leur amour. 17 Demeurée seule, Tatiana va s’asseoir à son 27 Tatiana paraît très émue à la nouvelle avances d’un fermier riche mais volage, Onéguine engage une conversation polie et bureau et commence à écrire une lettre à qu’Onéguine soit venu la voir: elle regrette Tatiana et Olga sortent pour les écouter. plutôt empruntée avec Tatiana, lui demandant Onéguine. Après des débuts hésitants, elle déjà son action impulsive. 5 Les réactions manifestées par les deux comment elle peut être heureuse dans ce milieu donne libre cours aux sentiments qu’elle 28 Il lui parle avec quelque froideur, car, bien sœurs vis à vis du chant folklorique montrent rural qui offre si peu de distractions éprouve pour lui. que sa lettre ait réveillé en lui des émotions leur différence de caractère. Pour la plus mondaines. Elle lui répond qu’elle passe son 18 C’est son cœur, écrit-elle qui l’a poussée à anciennes, il se montre surpris qu’elle écrive si introvertie, Tatiana, le chant évoque des temps à lire et à rêver, ce qui révèle la nature déclarer son amour. Si elle n’avait jamais ouvertement à quelqu’un qu’elle ne connaît aspirations indéterminées, tandis qu’il donne essentiellement romantique de son rencontré le jeune homme, elle aurait peut-être que relativement peu. tout simplement envie de danser à Olga, la tempérament. pu un jour en épouser un autre. 29 Onéquine lui dit que s’il avait eu l’intention plus extravertie. 11 Tandis qu’Onéguine et Tatiana s’éloignent, 19 Se levant de son bureau, elle se rend de mener une vie consacrée au bonheur 6 Reprenant les paroles des paysans, Olga Lenski donne libre cours à ses sentiments pour compte qu’il ne pourra jamais y en avoir un domestique, il n’aurait pu espérer trouver chante son insouciance et son appétit effréné Olga qui lui rend la pareille avec effusion. autre. partenaire plus digne que Tatiana. Il ne se sent pour la vie. 12 A la tombée de la nuit, Madame Larina sort 20 Elle l’a toujours aimé. néanmoins plus destiné à se marier et se croit 7 Tandis que les paysans s’en vont, Madame pour inviter les jeunes gens à souper. Onéguine 21 – 22 Elle se remet à sa lettre implorant incapable de payer de retour la dévotion de la Larina et Filipievna demandent à Tatiana escorte Tatiana dans la maison sous le regard de Onéguine de la délivrer du tourment auquel jeune fille. pourquoi elle a l’air si bouleversé, pensant que Filipievna. La nourrice pense déceler que la elle se trouve réduite. 30 Tandis que les jeunes paysannes continuent la jeune fille doit être malade. Elle leur répond jeune fille dont elle a la charge est tombée 23 Au point du jour, la lettre est terminée. de chanter leur air joyeux, Onéguine conseille néanmoins que c’est l’émouvante histoire amoureuse de leur nouveau visiteur. Filipievna vient réveiller Tatiana. à Tatiana de maîtriser ses sentiments et

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d’attendre la venue d’un époux plus qu’enjouée, dit à Lenski qu’il est ridicule de 11 Il accepte néanmoins le défi di Lenski, 18 Onéguine est revenu à Saint-Pétersbourg indiqué. faire tant d’histoires à propos d’une danse pensant lui donner une leçon pour s’être après avoir passé plusieurs années stériles à innocente, mais, cherchant à le provoquer mépris d’une façon si ridicule sur ses actions errer de par le monde, tentant d’échapper à COMPACTDISC2 davantage, elle accepte encore une fois de innocentes. son passé. Mais il lui est toujours impossible danser avec Onéguine. d’oublier qu’il a tué le seul ami dont il ait Deuxième acte 6 – 7 Monsieur Triquet, le Français, chante Scène 2 jamais fait cas et dont le spectre le hante quelques couplets qu’il a écrits en l’honneur de Un moulin situé sur les bords d’une rivière au milieu toujours constamment. Les autres invités Scène 1 Tatiana. des bois. Il est tôt le matin et le soleil vient seulement commentent sur sa lugubre présence. La salle de bal de la demeure de Madame Larina, au 8 On annonce la danse suivante: une de se lever. 19 Ecossaise mois de janvier suivant. Un bal est donné en l’honneur mazurka. Onéguine danse une fois avec 12 Introduction 20 Le prince Gremine entre accompagné de sa de Tatiana dont c’est la fête. Tatiana avant de la reconduire à sa place, et 13 Zaretski, le témoin de Lenski, demande où femme, qui n’est autre que Tatiana. Onéguine 1 On joue une valse. pendant tout ce temps là, Lenski ne les perd se trouve Onéguine, le pensant perdu. la reconnaît, bien qu’avec difficulté, car elle a 2 Les invités, dont beaucoup sont des pas du regard. 14 Lenski, plein de pressentiments, sent qu’il changé, la jeune provinciale s’est transformée propriétaires terriens voisins, expriment le 9 Lenski commence à sa quereller avec va être tué au cours de ce duel. Il se remémore en digne princesse. Tatiana s’enquière de grand plaisir qu’ils éprouvent à cette occasion Onéguine, l’accusant de faire des avances sa jeunesse et son amour pour Olga. l’étranger qui est maintenant en train de parler que amène un agréable changement à leur déplacées à Olga. Onéguine tente de le calmer, 15 Onéguine arrive, n’amenant pour témoin à son époux et, en entendant le nom routine normale. mais Lenski est hors de lui. Il provoque qu’un serviteur. d’Onéguine, commence à trembler d’émotion. 3 Onéguine, que Lenski a amené, danse avec Onéguine en duel. Madame Larina est 16 Tandis que le témoins s’entretiennent, 21 Le prince Gremine qui est assez âgé fait Tatiana. Ce qui donne lieu à des consternée de voir une telle chose arriver chez Onéguine et Lenski font une dernière vaine part à Onéguine de l’amour profond qu’il commentaires, car la compagnie le juge elle. tentative de réconciliation. Dans le duel qui ressent pour la jeune femme qu’il a indigne de Tatiana du fait de sa personnalité 10 Lenski se remémore les journées heureuses s’ensuit, Lenski est tué. nouvellement épousée, et lui dit à quel point déplaisante et de mauvaise vie notoire. qu’il a passées dans la demeure de Madame ce sentiment a transformé son exisence 4 Onéguine, qui entend leurs commentaires, Larina. Tatiana est horrifée à l’idée Troisième acte autrement sans intérêt. décide de punir Lenski de l’avoir persuadé qu’Onéguine puisse se faire tuer et à l’idée de 22 Onéguine et Tatiana que le prince Gremine d’assister au bal et se met en tête de danser le perdre à jamais, tandis qu’Olga, Madame Scène 1 présente l’un à l’autre font pendant un court avec Olga. Larina et la compagnie assemblée reprochent Plusieurs années plus tard, la demeure du prince instant allusion au fait qu’ils se sont autrefois 5 Lenski, jaloux de l’attention qu’Olga aux jeunes gens d’agir avec tant d’aveuglement Gremine à Saint-Pétersbourg connus. accorde à Onéguine, accuse cette dernière de et de manière si impulsive. Onéguine regrette 17 Les invités dansent une polonaise, avant de 23 Lorsque Tatiana se retire, Onéguine médite flirter avec lui. Olga, qui ne se montre secrètement d’avoir agi ainsi. se séparer pour converser en petits groupes. sur les changements qui l’ont transformée.

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Regrettant maintenant de l’avoir autrefois submergé par le désespoir, contemple la (Arabella, la Maréchale et la Comtesse dans solistes les plus respectés, les plus innovateurs rejetée, il est rempli d’une ardeur nouvelle et tristesse de son destin. Capriccio), les rôles mozartiens de Fiordiligi, et les plus demandés de sa génération. Sa décide de lui déclarer son amour. Donna Elvira, Pamina et de la Comtesse passion du chant l’a poussé non seulement à © Ewan West Almaviva; les rôles de Violetta, Amelia et enseigner mais aussi à explorer le répertoire et Scène 2 Traduction: Marianne Fernée Desdémone chez Verdi, ceux de Tosca, Mimì à concevoir des projets multimédia comme Une pièce de la demeure de prince Gremine, et Manon Lescaut chez Puccini; elle a été la Voices from the Heart, un spectacle le matin suivant Kiri Te Kanawa devint célèbre presque du Rosalinde de Johann Strauss, la Tatiana de documentaire sur la musique de Stephen 24 Introduction jour au lendemain après ses débuts Tchaïkovski, la Micaëla de Bizet et la Foster pour Hessischer Rundfunk und Arte. 25 Tatiana a reçu une lettre d’Onéguine dans sensationnels dans le rôle de la Comtesse dans Marguerite de Gounod. Le répertoire lyrique de Hampson est laquelle il lui fait part des sentiments qu’il Le nozze di Figaro au Royal Opera House, On lui doit plusieurs enregistrements extrêmement varié et va de Rossini à Verdi et éprouve à son égard. En sanglots, elle se Covent Garden. Elle se retrouva vite parmi illustres, entre autres d’opéras complets: Don Puccini, de Monteverdi à Britten et Henze. Il a remémore ce qu’elle ressentait autrefois pour l’élite de l’opéra international et devint l’une Giovanni, Le nozze di Figaro, Così fan tutte, La récemment triomphé dans les rôles-titres de lui. Onéguine arrive implorant sa pitié. des sopranos les plus célèbres dans le monde. Flûte enchantée et Tosca, La rondine, Manon Lescaut Guillaume Tell (Vienne), d’Eugène Onéguine 26 Essuyant ses larmes, Tatiana rappelle à A l’époque de ses débuts lyriques, elle avait ainsi que Simon Boccanegra, Arabella, Othello, La (Vienne et Paris), de Hamlet d’Ambroise Onéguine leur première rencontre et avec déjà beaucoup travaillé en concert et en studio traviata, Le Chevalier à la rose, Faust, Carmen, Thomas (Monte Carlo et San Francisco) et quelle froideur – une froideur qu’elle ressentit et se sentait tout aussi à l’aise devant les Capriccio et La bohème. Elle a aussi enregistré dans une version pour baryton rarement comme cruelle – il reçut les témoignages caméras que sur la scène. Aujourd’hui, alors des anthologies d’arias d’opéras français, montée du Werther de Massenet (New York). Il d’amour de l’adolescente qu’elle était. Elle se qu’elle continue de développer sa carrière italiens et allemands. a également été Giorgio Germont dans rend maintenant compte à quel point il avait d’artiste de récital, elle reste très demandée Kiri Te Kanawa s’est vue conférer le titre de La traviata (Zürich), le marquis de Posa dans la raison, car elle était en effet trop naïve et dans les contextes musicaux les plus variés. Dame en 1982 et a reçu en 1995 l’Ordre de version française originale de Don Carlos de simple. L’aime-t-il maintenant à cause de sa Kiri Te Kanawa se produit fréquemment Nouvelle-Zélande. Verdi (Paris, Londres, Edinbourg), Wolfram richesse et de sa position sociale? dans les plus grands théâtres lyriques du dans Tannhäuser de Wagner (Zürich) et chanté 27 Malgré les protestations d’Onéguine, monde – Covent Garden, le Metropolitan Thomas Hampson, le plus grand baryton dans Le Docteur Faust de Busoni (Salzbourg) et Tatiana ne faiblit pas. Opera, le Chicago Lyric Opera, l’Opéra de américain du moment, doit sa réputation à la Le Roi Roger de Szymanowski (Birmingham). 28 Bien qu’elle soit tentée de céder à l’amour Paris, le Sydney Opera House, l’Opéra d’état diversité et l’ampleur de ses succès à l’opéra, Au programme de sa saison 2000/2001, on qui commence à se réveiller dans son cœur, de Vienne, La Scala, les opéras de San en récital, au disque et dans le domaine de la retrouve entre autres Le Docteur Faust (New elle doit rester fidèle à son mari. Francisco, Munich, Cologne et de Vérone. Son recherche. Sa carrière internationale l’a conduit York), Hamlet (Paris) ainsi qu’Eugène Onéguine, 29 Elle supplie Onéguine de partir. Tandis répertoire de soprano lyrique comprend les dans les théâtres et les salles de concert les Guillaume Tell, La Veuve joyeuse et Linda di qu’elle s’enfuit de la pièce, Onéguine, trois grandes héroïnes de Richard Strauss plus prestigieux du monde et il est l’un des Chamounix à Vienne et pour la première fois le

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rôle d’Oreste dans Iphigénie en Tauride de du Met (Met in the Parks). Il a été invité à l’English National Opera où il fut entre autres suédoise, il fit ses débuts professionnels à Gluck à Salzbourg. chanter sur les plus grandes scènes lyriques le Commandeur (Don Giovanni), Colline l’Opéra royal de Stockholm en 1952 dans La plupart des enregistrements de des Etats-Unis. (La bohème), le moine (Don Carlos), la Première Le Postillon de Longjumeau. Il chanta pour la Hampson ont été primés, méritant entre En Europe, Neil Rosenshein a chanté au voix (Le Docteur Faust de Busoni), Ferrando première fois à La Scala de Milan en 1953, à autres six nominations aux Grammy Awards et Royal Opera, Covent Garden (Lenski dans (Le Trouvère), Leporello (L’Invité de pierre), le l’Opéra de Paris en 1954 et au Metropolitan trois Gramophone Awards. Eugène Onéguine et Steva dans Jenuofa), à l’Opéra vieux forçat (Lady Macbeth de Mtsensk), Don Opera (dans le rôle-titre du Faust de Gounod) de Paris et à l’Opéra d’état de Hambourg Basile (Le Barbier de Séville), Dansker (Billy Budd), en 1957. Depuis ses débuts avec le Royal Le ténor américain Neil Rosenshein est (Alfredo), à l’Opéra de Zürich (Belmont dans Banquo (Macbeth), Pogner (Les Maîtres-chanteurs) Opera en 1965 (dans le rôle du Duc de réputé autant pour la diversité de ses talents, L’Enlèvement au sérail), à l’Opéra de Lausanne et Sarastro (La Flûte enchantée). Il a également Mantoue dans Rigoletto de Verdi), il a incarné ses représentations mémorables sur la scène (Cavaradossi et Werther), au Grand Théâtre de chanté pour le Royal Opera et Opera North. sur cette scène Benvenuto Cellini, Alfredo, que pour sa maturité musicale. Aussi à l’aise Genève (Tom Rakewell dans Le Libertin) et au Il a enregistré entre autres Peter Grimes (pour Gustave III dans Un Bal masqué, Nemorino et sur la scène lyrique que dans la salle de Netherlands Opera dans les rôles-titres de Don Chandos), Billy Budd, Elijah, le Stabat Mater de Lensky. Il créa les rôles principaux de Vanessa concert, il possède un répertoire allant du Carlo et de Der Zwerg de Zemlinsky. Il s’est Szymanowski et Serenade to Music de Vaughan de Barber et du Dernier sauvage de Menotti au baroque au XXe siècle. également produit à Essen, Bonn, Bruxelles, Williams. Pour BBC Radio, il a enregistré un Metropolitan Opera. Au programme de sa saison 2000/2001, Lisbonne, Lille, Nice, Marseille, Toulouse, opéra studio, Les Bourgeois de Calais. John Ses triomphes lyriques vont de Haydn et Neil Rosenshein a inscrit Hérode dans Salomé Lyon ainsi qu’avec le New Israeli Opera. Au Connell a également participé à une version de Mozart jusqu’à Stravinsky, Orff, Barber et avec le Milwaukee Symphony Orchestra ainsi Japon, il a été Lenski avec le Pacific Music concert de La Walkyrie en Espagne, tenu le Menotti, tandis qu’en récital il est réputé pour que Tikhon dans Katia Kabanova avec le Festival, interprétant par ailleurs la partie de rôle de Sarastro avec le Welsh National Opera son interprétation remarquable des Lieder. Houston Grand Opera. Il fit ses débuts au ténor solo dans la Neuvième Symphonie de et celui du Père Guardiano (La Force du destin) Nicolaï Gedda a travaillé avec la plupart des Metropolitan Opera dans le rôle d’Alfredo Beethoven lors d’un Concert pour la Paix avec l’English National Opera. grands chefs d’orchestre du monde durant les dans La traviata et retrouva cette scène dans le donné à Hiroshima. trente-cinq dernières années, comme rôle-titre du Faust de Gounod, sous les traits Nicolaï Gedda est reconnu dans le monde Beecham, Bernstein, Giulini, Klemperer et du Prince dans une nouvelle mise en scène de John Connell fit ses études au Royal Northern entier comme l’un des plus grands artistes de Solti. Il peut aussi se vanter d’être le ténor le Roussalka, dans le rôle-titre de Peter Grimes College of Music avec Patrick McGuigan ainsi notre temps. Il maîtrise un répertoire plus enregistré au monde, avec deux cents ainsi qu’en tant qu’Alfred et Eisenstein dans qu’au National Opera Studio. Il fit ses débuts recouvrant presque tous les styles de musique et enregistrements à son actif. Parmi ceux-ci, La Chauve-souris. Spécialiste du répertoire avecl’English National Opera dans le rôle de toutes les époques, qu’il s’agisse d’opéra, notons l’intégrale de Guillaume Tell, La bohème, français, il a également tenu au Met le rôle- Ramfis dans Aïda avant de devenir première d’oratorio, de mélodies ou d’œuvres Faust, Werther, Manon, Così fan tutte et Benvenuto titre de Werther et interprété Don José dans basse de la compagnie l’année suivante. Il a été orchestrales. Cellini. Carmen dans le cadre des concerts en plein air régulièrement invité à chanter en soliste avec Né en Suède de père russe et de mère Nicolai Gedda a récemment triomphé au

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Royal Opera House dans un concert d’airs et la Troisième Dame de la nuit (La Flûte Studio. Sa carrière lyrique internationale l'a (Lohengrin) et Ulrica (Un Bal masqué) ainsi d’opéra et d’opérette ainsi que dans une enchantée) à Vérone. Elle a aussi chanté dans mené au Metropolitan Opera à New York, à qu’avec le Royal Opera dans celui de nouvelle mise en scène de Palestrina de Guillaume Tell, Moïse en Egypte, Rigoletto, La Fille l'Opéra de Paris, au Teatro Colon à Buenos Waltraute (Le Crépuscule des Dieux). Sa carrière Pfitzner. du far-west et Méphistophélès pour le Royal Aires, à San Diego, Miami et Seattle. Il a internationale l’a menée à Paris, Genève, Opera House, Covent Garden aisni que de chanté entre autres le rôle-titre de Don Francfort, dans les Flandres, à Lille, Nice, Native de Dublin, Patricia Bardon marqua le nombreux rôles pour Opera North, le Welsh Quichotte de Massenet (pour l'English Vienne, Tokyo, Singapour ainsi qu’en monde musical lorsqu’elle fut primée au tout National Opera, Scottish Opera, l’English National Opera et le Victoria State Opera) et Australie, en Nouvelle-Zélande et au Festival premier Concours international de chant de National Opera et Glyndebourne. Elle doit les rôles de Thésée (La Reine des fées), Don de Bayreuth. Cardiff. Elle est considéré aujourd’hui comme prochainement se produire au Chicago Lyric Basile, le vieil homme (Le Roi Priam pour Linda Finnie a réalisé de nombreux l’une des plus grandes interprètes Opera, au Mai musical de Florence avec l'Opéra des Flandres et l'English National enregistrements pour Chandos, entre internationales à l’opéra et en concert. Zubin Mehta, avec l’Opéra d’état de Munich, Opera) et Don Jérôme (La Duègne pour autres d’œuvres de Bliss, Diepenbrock, Sur la scène lyrique, elle a été Arsace l’English National Opera et à Amsterdam. Opera North). Korngold et Respighi, ainsi que des cycles de (Sémiramis) à La Fenice à Venise, a tenu le Patricia Bardon a un vaste répertoire de Parmi les enregistrements de Richard Van mélodies de Mahler, Elijah, Sea Pictures et rôle-titre de Cendrillon au Théâtre de la concert qu’elle a interprété à La Scala, à Allan, notons Così fan tutte avec Montserrat The Light of Life d’Elgar sans oublier Ivan le Monnaie à Bruxelles, celui de Carmen pour Madrid, Bruxelles, Berlin, aux Festivals Caballé, Janet Baker et Ileana Cotrubas sous Terrible de Prokofiev (qui fut primé en l’Opéra d’état de Hambourg, le Welsh d’Edinbourg et de Montreux, à Cincinnati et la direction de Sir Colin Davis, Don Giovanni Allemagne). National Opera et Scottish Opera, Pénélope à Tokyo. Parmi ses enregistrements, notons avec Bernard Haitink, Gloriana de Briiten (où (Le Retour d’Ulysse) au Mai Musical de Orlando, Elijah, Erda (L’Or du Rhin pour il tient le rôle de Raleigh) avec Sir Charles Elizabeth Bainbridge est née dans le comté Florence ainsi qu’à Athènes avec Trevor Chandos en collaboration avec la Fondation Mackerras, Billy Budd et, pour Chandos, de Lancashire, et a fait ses études à la Pinnock, le rôle-titre d’Orlando de Haendel à Peter Moores), Amastre (Xerxès) et Rigoletto. La Duègne de Roberto Gerhard. Guildhall School of Music and Drama de New York, Paris, Lyon, Strasbourg et Londres. Elle fit ses débuts au Royal Opera Montpellier avec William Christie et Les Arts Richard Van Allan est l'un des barytons- Originaire d’Ecosse, Linda Finnie fit ses Covent Garden dans Die Walküre en 1964, et Florissants, Smeton (Anne Boleyn) à San basses les plus éminents de Grande-Bretagne. études à la Royal Scottish Academy of Music entra dans la compagnie l’année suivante. Ses Francisco, Amastre (Xerxès) pour l’Opéra Membre de l'English National Opera, il a and Drama et à la Royal Academy of Music. rôles furent Mistress Quickly, Suzuki, d’état de Munich avec Ivor Bolton ainsi qu’à tenu de nombreux rôles principaux et s'est Elle s’est produite avec toutes les grandes Amneris, Emilia, Erda, Arvidson, Filipievna, Dresde et Montpellier, Junon (Sémélé) à produit à Covent Garden, avec Opera North, compagnies lyriques de Grande-Bretagne, une Ancienne (The Midsummer Marriage), Innsbruck avec René Jacobs, le rôle-titre de le Glyndebourne Festival Opera, le Welsh notamment avec l’English National Opera Grand-mère Buryja (JenuÞfa) et Auntie (Peter Tamerlan au Festival de Beaune, Hélène (Le National Opera et Scottish Opera. Il est dans les rôles de Brangäne (Tristan et Isolde), Grimes). Elle s’est produite avec le Royal Roi Priam) pour Der Vlaamse Oper à Anvers également directeur du National Opera Eboli (Don Carlos), Amnéris (Aïda), Ortrud Opera au Teatro alla Scala de Milan en 1976,

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en Corée du Sud et le Japon en 1979, à directeur musical depuis 1992. En 1995, Sir Charles Mackerras naquit en 1925 aux Royal Opera de Covent Garden à Londres, et l’Olympic Arts Festival de Los Angeles en l’Orchestre du Welsh National Opera Etats-Unis de parents australiens et fit ses dirige régulièrement au Metropolitan Opera 1984, et au festival d’Athènes en 1985. Parmi remporta le Prix de musique de la Royal études à Sydney et Prague. Il fit ses débuts de de New York. ses enregistrements figurent Norma, Les Philharmonic Society, dans la catégorie chef lyrique au Sadler’s Wells Opera, où il Sir Charles Mackerras a fait des recherches Troyens, Le Petit renard rusé, Dido and Aeneas et “Grands ensembles”. contribua à la première britannique de Katya poussées sur l’interprétation aux XVIIIe et The Midsummer Marriage. Kabanova de JanácŠek, une création XIXe siècles qui ont profondément influencé Le Chœur du Welsh National Opera sensationnelle qui assura à JanácŠek de figurer la façon dont il aborde le répertoire L’Orchestre du Welsh National Opera fut commença sa carrière professionnelle en au répertoire des troupes britanniques. Il fut aujourd’hui. Sa vaste discographie comprend fondé en 1970. Il figure parmi les meilleurs 1968. Sa réputation crut rapidement et Chef d’orchestre principal de l’Opéra de un cycle primé des opéras de JanácŠek orchestres britanniques, apprécié non l’ensemble est salué dans le monde entier Hambourg (1966–1969) et directeur musical avec la Philharmonie de Vienne, Gloriana de seulement pour ses interprétations superbes pour son travail à l’opéra et en concert, non du Sadler’s Wells Opera (qui deviendrait Britten et Rusalka de DvoŠrák (primés tous les dans un vaste répertoire lyrique mais aussi seulement dans le répertoire traditionnel l’English National Opera) entre 1970 et 1977 deux par la revue Gramophone), des pour son travail en concert et ses comme Verdi mais aussi dans celui du XXe et du Welsh National Opera entre 1987 et symphonies de Beethoven, Brahms et Mahler, enregistrements. siècle avec des œuvres comme Le Mariage de la 1991, où ses productions remarquables de et avec l’English National Opera Giulio Sous la direction de Richard Armstrong, mi-été de Tippett et Souvenirs de la maison des JanácŠek entre autres furent accueillies avec Cesare de Handel et Maria Stuarda de directeur musical de 1973 à 1986, l’orchestre Morts de Janácvek. Le Chœur a enregistré de enthousiasme. La production et Donizetti (pour Chandos/Peter Moores développa un large répertoire lyrique. C’est à nombreux opéras dont Andrea Chénier avec l’enregistrement d’Osud ont été financés par la Foundation). cette époque que Reginald Goodall travailla Riccardo Chailly, Tristan et Isolde et Parsifal avec Peter Moores Foundation. Il est Chef Sir Charles Mackerras est Commander of pour la première fois avec l’ensemble. Sir Reginald Goodall, Les Brigands, Norma, Hamlet, d’orchestre honoraire du Scottish Chamber the British Empire (CBE) depuis 1974 et a Charles Mackerras devint directeur musical Hernani, Anne Boleyn et Adrienne Lecouvreur Orchestra et du Welsh National Opera, l’un des été anobli en 1979 pour services rendus à la en 1987 et développa considérablement le avec Richard Bonynge, Tosca avec Georg Solti chefs réguliers de San Francisco Opera et, musique. Il s’est vu également décerner la programme d’enregistrements de l’orchestre. et Rigoletto, Faust et Un Bal masqué avec Carlo depuis la saison 1998–1999, directeur de Médaille du mérite de la République tchèque, Avant 1987, plusieurs intégrales d’opéras Rizzi. Le Chœur a aussi enregistré The Mikado, l’Orchestra of St Luke’s à New York. Il est le Prix Chopin et le titre de Companion of avaient été gravées sous la direction de The Pirates of Penzance, The Yeomen of the Guard, associé depuis de nombreuses années avec le the Order of Australia. Richard Bonynge, avec Joan Sutherland, Gloriana de Britten et Osud de Janácvek avec Montserrat Caballé et Pavarotti à la tête de Mackerras. Parmi les pièces de concert, il a distributions de carrure internationale. Sous enregistré Sea Drift de Delius, The Vigil of Mackerras, l’orchestre enregistra Osud de Venus de George Lloyd et Hiawatha de Janácvek (CHAN 3019). Carlo Rizzi est Coleridge-Taylor.

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v v più presto possibile. Fin dall’inizio, Cajkovskij differenza della sua sostanza drammatica, non Cajkovskij: Eugenio Onieghin si era convinto che sarebbe stato necessario si poteva direttamente trapiantare sulla scena adottare un approccio radicale di base perché operistica. Tuttavia al suo primo contatto con Che piacere non avere a che fare con i noiosi intessuto i suoi versi eleganti era il progetto avesse successo, e cercò di il testo di Pusvkin era rimasto profondamente Faraoni, le principesse etiopi, i calici avvelenati e estremamente tenue. Nel giro di qualche sottolinearlo in maniera particolare con colpito dall’episodio in cui Tatiana rimane tutti i racconti sulle bambole automatiche. giorno, però, il compositore cambiò idea e Shilovsky. Più che altro voleva evitare le alzata per tutta la notte a scrivere la sua Quanta poesia c’è in Onieghin! convenzioni operistiche alienanti dei suoi innocente e impulsiva dichiarazione d’amore a v ammise che i difetti drammatici del poema Così scriveva Cajkovskij a suo fratello Modest potevano essere superati attraverso la tempi, che non avrebbero reso giustizia alle Onieghin, per vedere crudelmente respinte le nel maggio del 1877, mentre iniziava a “ricchezza della poesia” e la sua “umanità e pagine piene di significato di Pusvkin. Ben sue proposte al loro incontro la mattina dopo. v v lavorare alla sua nuova opera, Eugenio Onieghin. semplicità”. Soprattutto, Cajkovskij era certo presto fece a meno dei servigi di Shilovsky Cajkovskij abbozzò il suo canovaccio con Era stata la cantante Elizaveta Lavrovskaya, di poter realizzare una versione operistica completamente e iniziò di persona a costruire l’intenzione che questo brano (parzialmente nel corso di una festa, a suggerirgli di dell’Eugenio Onieghin che veramente il libretto per un’opera che avrebbe poi utilizzato come base della famosa “Scena della prendere in considerazione il “poema completasse il testo a cui si ispirava, piuttosto descritto, con caratteristica precisione, “scene lettera”) costituisse il nucleo emotivo narrativo” di Pusvkin come base per un’opera. v che distruggerne il carattere essenziale, liriche in tre atti”. dell’opera. Ben presto esso avrebbe assunto un All’inizio Cajkovskij reagì negativamente, suscitando in tal modo le ire dei tanti Non si trattava della prima opera di significato ancora più personale. v come la maggiore parte dei suoi amici e ammiratori di Pusvkin. L’operazione non riuscì Cajkovskij; il compositore aveva già lavorato a Poiché era stato talmente ispirato dalla conoscenti, e fu tentato di respingere completamente da questo punto di vista – diversi progetti rimasti incompiuti, comprese figura della disprezzata Tatiana, dopo aver v sommariamente l’idea di Eugenio Onieghin e Turgenev, per esempio, trovò molto da ridire le musiche per il Boris Godunov di Pusvkin e una creato il suo canovaccio, Cajkovskij ebbe concentrarsi invece su due alternative più sul libretto – però oggi per ammissione lettura della leggenda Undine, oltre allo storico motivo di rivedere una sua reazione a una promettenti: l’Otello di Shakespeare e Cinq-mars generale Eugenio Onieghin rappresenta il Oprichnik e quello che più tardi definì il suo lettera d’amore spontanea che gli aveva inviato v di Alfred de Vigny. L’opera di Pusvkin era capolavoro lirico di Cajkovskij e uno dei più “brillante insuccesso”, Vakula il fabbro (in qualche settimana prima una giovane troppo raffinata e godeva di grandissimo duraturi contributi al repertorio russo seguito riveduto per Cherevichki). Ma non si era studentessa del Conservatorio. La somiglianza rispetto nei circoli letterari perché egli osasse ottocentesco. mai prima identificato tanto da vicino con uno tra la propria posizione e quella del sottoporla a un trattamento operistico, con Una volta risvegliato il suo interesse, dei suoi progetti drammatici. Questo si protagonista della sua nuova opera assumeva v tutta l’aderenza alle artificiali convenzioni che Cajkovskij non vide l’ora di mettersi al lavoro: potrebbe spiegare fino a un certo punto con la così l’aspetto di un intervento diretto del ciò avrebbe comportato. Inoltre, a prima vista l’intero canovaccio venne abbozzato durante sua crescente consapevolezza di essere in destino, e il compositore era sempre disposto la trama appariva troppo debole per sostenere un’unica notte insonne e il giorno dopo venne grado di fornire, attraverso la sua musica, la a seguire i suoi ammonimenti. Nel timore di un’opera teatrale completa, perché la vicenda presentato all’amico Konstantin Shilovsky controparte ideale al sofisticato stile narrativo comportarsi come Onieghin nei confronti di v di base intorno alla quale Pusvkin aveva perché venisse trasformato in un libretto al di Pusvkin, quell’elemento dell’originale che, a Tatiana, Cajkovskij accettò di sposare Antonia

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Miljakova anche se, avendo molto prima preso recuperare le forze, il compositore continuò a una preparazione tradizionale. Così, all’inizio Onieghin è ancora più notevole. Il fenomeno si coscienza delle proprie tendenze omosessuali, lavorare all’opera, inviando dei resoconti a del novembre 1877, il compositore si rivolse al potrebbe forse attribuire in parte alla partitura, non era disposto a prendere in considerazione Nadezvda von Meck, finché nel febbraio del suo amico Rubinstein, direttore del che riunisce gli elevati standard dell’invenzione alcun rapporto fisico con la futura sposa. Il 1878, in seguito a un ultimo sforzo frenetico Conservatorio, chiedendogli di organizzare un melodica, il colore e il lirismo che ormai il matrimonio, doverosamente celebrato nel di attività, fu in grado di annunciare che era allestimento parziale dell’opera, cioè tutto il pubblico russo si attendeva dal compositore; luglio del 1877, si rivelò disastroso e di breve stata terminata. primo atto e la prima parte del secondo. però l’Eugenio Onieghin rivela anche un v durata, e fece piombare il compositore in una Adesso Cajkovskij rivolse le proprie energie Inizialmente, Rubinstein pensò che il progetto compositore dal tocco drammatico sicuro, in grave depressione da cui si sentì costretto a ad organizzare l’allestimento teatrale fosse poco saggio, temendo che avrebbe grado di trasformare una narrazione di sapore cercare sollievo con un tentativo di suicidio dell’Eugenio Onieghin. Come era stato ansioso di potuto danneggiare a lungo la reputazione di byroniano in un efficace brano di teatro v circa due mesi dopo. imboccare nuovi sentieri nel suo approccio alla Cajkovskij. Alla fine comunque acconsentì e musicale che lo colloca tra i maggiori La composizione di Eugenio Onieghin quindi costruzione del libretto e al processo per nel dicembre del 1878 fu rappresentata in compositori operistici. Soprattutto, bisogna si colloca su uno sfondo di gravi difficoltà musicarlo, così si preoccupò di infondere alla prova generale una versione ridotta al doverosamente riconoscere il senso infallibile v personali; per quanto le due cose assorbirono sua esecuzione una nuova freschezza e vitalità. Conservatorio. Il 29 marzo 1879, Rubinstein di Cajkovskij in merito a quanto avrebbe avuto l’energia del compositore, non riuscirono mai Fin dall’inizio sapeva che idealmente la sua diresse una rappresentazione dell’opera il dovuto effetto sulle scene. La scelta di a distoglierlo completamente dal progetto. La partitura avrebbe richiesto cantanti di calibro completa al teatro Maly utilizzando un coro di imperniare la sua opera intorno ad alcuni guarigione dall’esaurimento nervoso, quando diverso rispetto a quelli facilmente disponibili studenti e un’orchestra formata episodi scelti del poema di Pusvkin venne, fu dovuta in gran parte alla recente nei teatri lirici imperiali. “Dove troverò la prevalentemente da studenti; anche se il rappresentava una strategia rischiosa; in questo v amicizia con la misteriosa vedova Nadezvda Tatiana ideata da Pusvkin e che ho cercato di trattamento di Pusvkin da parte di Cajkovskij fu modo, con un sol colpo veniva modificato il von Meck che divenne sua protettrice e riuscì descrivere in musica?”, scrisse. “Come sarà censurato in alcuni quartieri, in generale la carattere fondamentalmente narrativo v ad offrirgli aiuto materiale, oltre che stimolo volgare l’affascinante ritratto di Pusvkin quando nuova opera incontrò il favore della maggior dell’originale. Tuttavia, Cajkovskij si rese intellettuale. Il loro rapporto, sempre sarà trasferito nel teatro con le sue parte dei critici. Due anni dopo, il 23 gennaio contro ben presto che questo approccio, che epistolare e mai personale, sarebbe stato da convenzioni, le sue tradizioni senza significato, 1881, si svolgeva il primo allestimento ferma saldamente l’attenzione sui momenti allora in poi una delle forze creative più i suoi veterani di entrambi i sessi che professionale dell’Eugenio Onieghin al Bolsh’oj emotivi culminanti della storia, come la v significative della vita di Cajkovskij, come assumono, senza alcuna vergogna, il ruolo di di Mosca, dopo di che ben presto si conquistò rinuncia a Tatiana da parte di Onieghin e testimonia la commovente Quarta sinfonia, fanciulle sedicenni e giovanotti imberbi!” un posto fisso nel repertorio delle compagnie l’addio di Lenski al mondo, avrebbe dato alla composta nello stesso periodo e dedicata alla La soluzione prese le forme degli studenti in tutta Europa. sua opera un respiro veramente universale. “Mia migliore amica”. Per tutto il 1877 e del Conservatorio di Mosca, che secondo Considerata la trepidazione con cui Come le grandi opere di Mozart e Verdi, v v all’inizio del 1878, durante i suoi spostamenti Cajkovskij sarebbero stati meglio in grado di Cajkovskij si era accostato per la prima volta al Eugenio Onieghin non si limita a presentare una in Svizzera, Francia, Italia e Austria per affrontare la partitura rispetto ai cantanti con soggetto di quest’opera, il successo di Eugenio serie di eventi attraverso il mezzo dell’opera,

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ma fa molto di più: la sua preoccupazione emotivi sono simili. Altrettanto importante, preoccupazione principale rimane lo fascio di grano alla signora Làrina come v principale è ritrarre alcuni personaggi reali, forse, fu la visita di Cajkovskij a Bayreuth nel svolgimento della tragica storia d’amore dal simbolo che il raccolto è stato finalmente alcuni sentimenti e azioni con cui il pubblico 1876 per la prima rappresentazione di significato eterno e universale che non è completato. può identificarsi da vicino. In questo senso, Der Ring des Nibelungen. Sebbene sia difficile da andato perduto per le varie generazioni dei 4 Dietro sua richiesta, i contadini festeggiano v Cajkovskij supera persino le vette di Pusvkin, rintracciare l’influenza di Wagner nella sua critici e del pubblico. con una danza e un canto della mietitura. perché gran parte delle sfumature del poema musica, forse è significativo che Eugenio Mentre raccontano la storia della figlia del possono essere apprezzate solo da chi conosce Onieghin faccia un uso più cospicuo e © Ewan West mugnaio che respinge le profferte di un ricco e la tensione insidiosa tra la città e la società sviluppato dei motivi del ricordo rispetto alle incostante agricoltore, Tatiana e Olga escono rurale nella Russia dell’Ottocento, mentre sue opere precedenti. Argomento ad ascoltare. l’opera ha una portata che supera i confini Indubbiamente, l’influenza musicale più 5 Le due sorelle manifestano la diversità del v geografici e temporali. importante su Cajkovskij fu, comunque, la COMPACTDISCONE proprio carattere nelle loro reazioni. Per Sebbene a determinare il carattere essenziale tradizione nazionale dell’opera che si era Tatiana, più introspettiva, il canto evoca un v dell’opera fosse stata la reazione di Cajkovskij sviluppata nel suo paese nel corso dei Atto I desiderio indefinito; l’estroversa Olga, invece, si nei confronti di Pusvkin, bisogna riconoscere le precedenti quarant’anni, in seguito sente spinta a ballare. tante altre influenze di cui risentì l’opera. all’apparizione di Una vita per lo zar di Glinka 1 Introduzione 6 Riprendendo le parole dei contadini, Olga Come nella sua musica orchestrale, in cui il nel 1836. La qualità russa del poema di Pusvkin canta del suo spirito spensierato e del suo compositore rimase vicino alle tradizioni si rispecchia nell’adattamento consapevole di Scena prima amore per la vita. v dell’Europa occidentale più di tanti altri Cajkovskij di molte delle caratteristiche dello Il giardino della tenuta di campagna Larin, una sera 7 Mentre i contadini escono, la Làrina e contemporanei, per esempio Balakirev e Cui, stile nazionale dell’opera: il rustico Coro del di fine estate. La Làrina sta preparando la Filippievna chiedono a Tatiana il perché del suo che invece scelsero di seguire Raccolto nell’Atto I, per esempio, ha molte marmellata, con l’auto della nutrice, Filippievna. aspetto infelice, temendo che si senta poco provocatoriamente un sentiero filo-slavo, così controparti, come le caratteristiche danze, 2 Si sentono, da fuori, le due figlie della bene. La fanciulla risponde che è l’effetto della nelle sue opere egli trasse grande ispirazione come la polacca dell’Atto III. Tuttavia, nelle possidente Làrina, Tatiana e Olga, che cantano commovente storia d’amore che sta leggendo. v da opere estranee al repertorio russo. Per mani di Cajkovskij, tali caratteristiche vengono un motivo popolare. È la storia di un 8 Arriva Lenski, giovane proprietario terriero Eugenio Onieghin, il suo incontro con la Carmen utilizzate per un fine molto diverso, perché pastorello che soffre d’amore e questo fa che corteggia Olga da qualche tempo, e porta di Bizet durante una visita a Parigi nel 1876 si Eugenio Onieghin è un’opera molto più realistica ricordare alla Làrina alcune sue storie d’amore con sé un amico e nuovo vicino: Eugenio rivelò fondamentale: Modest ci dice che fu alla maniera della Traviata di Verdi che giovanili precedenti al suo matrimonio Onieghin. “una delle più potenti impressioni musicali un’opera della scuola nazionalistica. Mentre gli combinato, di cui parla con Filippievna. 9 Mentre Onieghin fa domande a Lenski su della sua vita”, e sebbene le trame delle due elementi russi danno un enorme contributo 3 Arriva un gruppo di contadini, stanchi Tatiana, la fanciulla rivela chela sua opere siano molto diverse, alcuni panorami alla vivace atmosfera dell’opera, la sua delle fatiche sui campi. Il loro capo offre un apparizione ha risvegliato in lei improvvisi

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desideri. Olga riconosce ben presto il le racconta la storia del proprio triste che Onieghin è venuto a trovarla: rimpiange quest’occasione, un gradevole cambiamento cambiamento d’umore della sorella. matrimonio, Tatiana le parla dei suoi già la sua azione impulsiva. rispetto alle normali abitudini. 10 Olga e Lenski si dichiarano reciprocamente sentimenti e dei suoi turbamenti. 28 L’uomo le parla piuttosto freddamente, 3 Onieghin, che è arrivato con Lenski, danza amore. Onieghin impegna Tatiana in una 17 Rimasta sola, Tatiana si avvicina allo perché nonostante la lettera abbia riacceso in con Tatiana. Questo suscita alcuni commenti: conversazione educata e piuttosto artificiale. scrittoio e inizia a scrivere una lettera a lui alcuni vecchi sentimenti, lo ha sorpreso la il gruppo lo considera indegno di Tatiana a Le chiede come fa ad essere felice in Onieghin. Dopo qualche esitazione iniziale, gli franchezza con cui la fanciulla si è rivolta a causa del suo carattere sgradevole e le sue campagna, un ambiente che offre così poche rivela i suoi sentimenti per lui. una persona relativamente sconosciuta. famigerate cattive abitudini. distrazioni sociali; lei risponde che passa il 18 Il suo cuore la obbliga a dichiarargli il suo 29 Se avesse deciso di condurre una vita di 4 Onieghin sente i loro commenti e, avendo tempo a leggere e sognare, tradendo il suo amore, scrive. Forse, se non l’avesse mai felicità domestica, le dice, non avrebbe potuto deciso di punire Lenski per averlo trascinato al temperamento essenzialmente romantico. incontrato, con il tempo avrebbe sposato un sperare di avere una compagna migliore di ballo, insiste per ballare con Olga. 11 Mentre Onieghin e Tatiana si allontanano, altro uomo. Tatiana. Ma non si sente più destinato al 5 Geloso dell’attenzione rivolta da Olga a Lenski manifesta i suoi sentimenti per Olga, 19 Alzandosi dallo scrittoio, si rende conto matrimonio e non pensa di poter ricambiare Onieghin, Lenski l’accusa di flirtare con lui. che sono caldamente ricambiati. che non può esserci nessun altro. l’affetto di Tatiana. Olga, che invece si diverte, dice a Lenski che è 12 Al cadere della sera, la Làrina esce per 20 L’ha sempre amato. 30 Mentre le contadine continuano a cantare il sciocco da parte sua dare tanta importanza a chiamare i suoi ospiti a tavola. Onieghin 21 – 22 Riprende a scrivere la lettera, loro allegro motivo, Onieghin consiglia a un innocuo ballo, ma per indispettirlo accetta accompagna Tatiana a casa, osservato da implorando Onieghin di salvarla dal tormento Tatiana di esercitare maggiore autocontrollo di ballare nuovamente con Onieghin. Filippievna. La nutrice crede di intuire da a cui si è ridotta. e attendere che arrivi un consorte più adeguato. 6 – 7 Un vecchio insegnante francese, alcuni indizi che la sua pupilla si è innamorata 23 Alle prime luci dell’alba la lettera è finita. Monsieur Triquet, declama alcuni versi che ha del nuovo visitatore. Filippievna viene a svegliare Tatiana. COMPACT DISC DUE composto in onore di Tatiana. 24 La fanciulla le chiede un favore, e 8 Viene annunciata la danza successiva: si Scena seconda Filippievna acconsente. Atto II tratta di una mazurka. Onieghin fa un giro con La camera da letto di Tatiana, più tardi, la stessa 25 Tatiana le consegna la sua dichiarazione Olga e poi la accompagna a sedersi. Lenski sera d’amore e le chiede di consegnarla a Onieghin. Scena prima non gli stacca gli occhi di dosso. 13 Introduzione La sala da ballo nella casa della signora Làrina, il 9 Lenski inizia a litigare con Onieghin, 14 Filippievna dice a Tatiana che è ora di Scena terza gennaio successivo. È l’onomastico di Tatiana e in suo accusandolo di fare delle avances indesiderate andare a letto. La proprietà dei Larin il giorno dopo onore si svolge un ballo. a Olga. Onieghin tenta di calmarlo, ma Lenski 15 Mentre si prepara, Tatiana chiede a 26 Un gruppo di contadine canta mentre 1 Si inizia con un valzer. ha perso il lume della ragione. Sfida Onieghin Filippievna di parlarle del passato. raccoglie more. 2 Gli ospiti, molti dei quali sono dei a duello. La Làrina è scandalizzata che tutto 16 È mai stata innamorata? Quando la nutrice 27 Appare Tatiana, preoccupata alla notizia possidenti, esprimono il loro piacere per questo possa accadere sotto il suo tetto.

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10 Lenski ricorda i giorni felici da lui Atto III 22 Il principe Gremin presenta Onieghin a che comincia a risvegliarsi nel suo cuore, deve trascorsi nella casa della Làrina. Tatiana è Tatiana; la donna ammette di averlo rimanere fedele a suo marito. inorridita al pensiero che Onieghin possa Scena prima conosciuto brevemente in passato. 29 Chiede a Onieghin di andarsene e corre via rimanere ucciso e perduto per sempre per Diversi anni dopo. La casa del principe Gremin a 23 Quando Tatiana esce, Onieghin medita sui dalla stanza. Sopraffatto dalla disperazione, lei, mentre Olga, la Làrina e gli invitati San Pietroburgo cambiamenti che sono sopravvenuti su di lei. Onieghin medita sul suo triste destino. biasimano i giovani che agiscono in 17 Gli ospiti danzano una polacca e poi si Adesso rimpiange di averla respinta ed è pieno maniera così impulsiva e cieca. Onieghin dividono in gruppi di conversazione. di nuovo ardore. Decide di dichiararle il © Ewan West prova segretamente rimorso per le proprie 18 Onieghin ha fatto ritorno a San proprio amore. Traduzione:Emanuela Guastella azioni. Pietroburgo dopo diversi anni trascorsi a 11 Tuttavia accetta la sfida di Lenski per viaggiare senza meta, nel tentativo di sfuggire Scena seconda Kiri Te Kanawa si è conquistata una fama dargli una lezione e per aver interpretato male al suo passato. Ma non riesce ancora a Una stanza in casa del principe Gremin, leggendaria quasi da un giorno all’altro, dopo delle azioni innocenti. dimenticare di aver ucciso l’unico amico di cui la mattina dopo il suo sensazionale esordio nelle Nozze di avesse stima; il suo fantasma lo ossessiona 24 Introduzione Figaro, in cui interpretava il ruolo della Scena seconda ancora costantemente. Gli altri ospiti 25 Tatiana ha ricevuto una lettera da Onieghin Contessa, alla Royal Opera House, Covent Un mulino ad acqua sulle rive di un ruscello in un accennano solo alla sua presenza cupa. in cui l’uomo le dichiara i propri sentimenti. Garden. Da allora, ha rapidamente raggiunto bosco. È mattina presto, il sole si è appena levato. 19 Si balla una scozzese. Tra le lacrime, ricorda il suo amore di un tempo un posto di prima linea nella lirica 12 Introduzione 20 Entra il principe Gremin con sua moglie, per lui. Arriva Onieghin, che implora la sua internazionale, diventando uno dei più famosi 13 Zaretsky, ufficiale e padrino di Lenski, che altri non è che Tatiana. Onieghin la pietà. soprano del mondo. All’epoca del suo esordio cerca Onieghin, chiedendosi se si sia perso. riconosce, anche se con difficoltà, perché la 26 Asciugandosi le lacrime, Tatiana gli ricorda operistico aveva già acquisito notevole 14 Oppresso dai presentimenti, Lenski sente donna è cambiata; non è più una fanciulla di il loro primo incontro e la freddezza e la esperienza nei concerti e nelle registrazioni e si che sarà ucciso nel duello. Ricorda i giorni provincia, ma una principessa dignitosa. crudeltà con cui aveva reagito alle sue trovava a proprio agio sia sotto le telecamere della sua giovinezza e il suo amore per Olga. Tatiana chiede chi sia lo sconosciuto che espressioni adolescenziali d’amore. Adesso si sia in teatro. Ha continuato a perfezionarsi nei 15 Arriva Onieghin, accompagnato solo da adesso sta parlando con suo marito e sentendo rende conto che lui aveva ragione; allora era recital e oggi è un’artista molto ricercata in un servitore come padrino. il nome Onieghin comincia a tremare troppo semplice e poco sofisticata. Forse il molti contesti musicali diversi. 16 Mentre i due padrini si accordano, internamente d’emozione. suo amore di oggi dipende dal fatto di averla Kiri Te Kanawa è una figura nota nei Onieghin e Lenski fanno un ultimo, inutile 21 L’anziano principe Gremin descrive a ritrovata ricca e ben imparentata? principali teatri lirici del mondo: Covent tentativo di riconciliazione. Nel duello che Onieghin il suo profondo amore per la sua 27 Nonostante le proteste di Onieghin, rimane Garden, Metropolitan Opera, Chicago Lyric segue, Lenski rimane ucciso. giovane sposa, che ha trasformato la sua inflessibile. Opera, Opéra di Parigi, Sydney Opera House, esistenza arida. 28 Per quanto sia tentata di cedere all’amore Opera di Vienna, La Scala, San Francisco,

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Monaco, Colonia e Verona. È un soprano operistico e liederistico, oltre che nel campo (Salisburgo), e King Roger di Szymanowski Metropolitan anche il ruolo di protagonista di lirico e tra le sue interpretazioni vanno della registrazione e della ricerca. La sua (Birmingham). La stagione 2000/2001 Werther ed è comparso nelle vesti di Don José ricordati tre importanti ruoli per il repertorio carriera internazionale l’ha portato a comprende apparizioni in Dr Faustus (New nella Carmen per la serie Met in the Parks. È di Richard Strauss (Arabella, la Marschallin, comparire nei teatri e nelle sale da concerto York), Hamlet (Parigi), Eugenio Onieghin, stato ospite di tutti i principali teatri lirici degli e la Contessa in Capriccio), Fiordiligi, Donna più prestigiose del mondo, facendo di lui uno Guillaume Tell, Die lustige Witwe e Linda di Stati Uniti. Elvira, Pamina e la Contessa Almaviva per dei solisti più rispettati, innovativi e ricercati. Chamounix (Vienna) oltre all’esordio nel ruolo In Europa, Neil Rosenshein ha lavorato alla il repertorio mozartiano; Violetta, Amelia L’artista sottolinea il suo impegno per l’arte di Oreste in Iphigénie en Tauride di Gluck a Royal Opera, Covent Garden (Lenski in Boccanegra, Desdemona per il repertorio della lirica non solo attraverso l’insegnamento, Salisburgo. Quasi tutte le registrazioni di Eugenio Onieghin e Steva in Jenuofa); all’Opéra di verdiano; Tosca, Mimì e Manon Lescaut per ma anche attraverso la ricerca del repertorio e Thomas Hampson sono state premiate (sei Parigi e all’Opera di Amburgo (Alfredo); il repertorio pucciniano; Rosalinde di Johann la creazione di progetti multimediali come candidature a un Grammy e tre premi all’Opera di Zurigo (Belmonte in Die v Strauss, Tatiana di Cajkovskij, Micaela di Bizet Voices from the Heart, un documentario sulla Gramophone). Entführung aus dem Serail ); all’Opéra de e Marguerite di Gounod. musica di Stephen Foster per la Hessischer Lausanne (Cavaradossi e Werther); al Grand L’artista ha al proprio attivo tutta una serie Rundfunk und Arte. Il versatile tenore americano Neil Rosenshein Théâtre de Genève (Tom Rakewell in The di registrazioni di prestigio, tra cui una Thomas Hampson ha interpretato una è noto per le sue memorabili interpretazioni in Rake’s Progress); e all’Opera dei Paesi Bassi versione integrale di Don Giovanni, Le nozze notevole varietà di ruoli in un repertorio teatro e per la sua arte musicale. Compare con come protagonista di Don Carlo e Der Zwerg di di Figaro, Così fan tutte, Die Zauberflöte e Tosca, operistico che va da Rossini a Verdi e Puccini, altrettanto successo nei teatri lirici e nelle sale Zemlinsky. Si è esibito inoltre a Essen, Bonn, La rondine e Manon Lescaut, Simon Boccanegra, e da Monteverdi a Britten e Henze. Tra le sue da concerto in un repertorio che va dal genere Bruxelles, Lisbona, Lille, Nizza, Marsiglia, Arabella, Otello, La traviata, Der Rosenkavalier, ultime interpretazioni più apprezzate vanno barocco a quello contemporaneo. Toulouse, Lione, e con la New Israeli Opera. Faust, Carmen, Capriccio e La bohème, oltre ad ricordati i ruoli di protagonista in Guillaume Durante la stagione 2000/2001, Neil In Giappone ha interpretato il ruolo di Lenski antologie di arie tratte dal repertorio lirico Tell (Vienna), Eugenio Onieghin (Vienna e Rosenshein sarà Erode in Salome con la con il Pacific Music Festival e la parte solistica francese, italiano e tedesco. Parigi), Hamlet di Ambroise Thomas Milwaukee Symphony, e Tikhon in Katya per tenore della Nona sinfonia di Beethoven Nel 1982, Kiri Te Kanawa è stata nominata (Montecarlo e San Francisco) e nella versione Kabanova con la Grand Opera di Houston. Ha in un Concerto per la Pace che si è svolto a Dame, e nel 1995 ha ricevuto l’Order of New per baritono del Werther di Massenet esordito al Metropolitan con il ruolo di Hiroshima. Zealand, una prestigiosa onorificenza della raramente eseguita (New York); il baritono è Alfredo ne La traviata, poi ha interpretato il Regina. stato père Germont ne La traviata (Zurigo); ruolo di protagonista nel Faust di Gounod, il John Connell ha studiato presso il Royal il marchese di Posa nella versione originale in Principe in un nuovo allestimento di Rusalka, il Northern College of Music con Patrick Il grande baritono americano Thomas francese del Don Carlos di Verdi (Parigi, protagonista di Peter Grimes, e i ruoli di Alfred McGuigan e presso il National Opera Studio. Hampson, è apprezzato per la sua versatilità e Londra, Edimburgo); Wolfram nel Tannhäuser e Eisenstein in Die Fledermaus. Specialista del Ha esordito con la Engish National Opera nel i notevoli risultati conseguiti nel repertorio di Wagner (Zurigo), Dr Faustus di Busoni repertorio francese, ha interpretato al ruolo di Ramphis in Aida e la stagione

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successiva entrava a fare parte della compagnia dell’opera, oratorio, operetta, lied o Recentemente Nicolai Gedda è comparso in terza damigella (Die Zauberflöte) a Verona; ruoli come basso solista. Ha cantato regolarmente composizioni per orchestra. un concerto di arie tratte da opere e operette in Guillaume Tell, Mosè in Egitto, Rigoletto, La con la English National Opera come ospite, Nato in Svezia da genitori russi e svedesi, ha che ha riscosso grande successo presso la fanciulla del West e Mefistofele per la Royal Opera interpretando, tra l’altro, il ruolo del esordito come professionista alla Royal Opera Royal Opera House e ha fatto ritorno qui per House, Covent Garden, e numerosi ruoli per Commendatore (Don Giovanni), Colline di Stoccolma nel 1952 in Le Postillon de un nuovo allestimento del Palestrina di Pfitzner. Opera North, Welsh National Opera, Scottish (La bohème), il monaco (Don Carlos), la prima Longjumeau. Nel 1953 esordiva alla Scala di Opera, English National Opera e voce (Doktor Faust di Busoni), Ferrando Milano, nel 1954 all’Opéra di Parigi e nel 1957 Patricia Bardon, di Dublino, si è messa in Glyndebourne. Futuri impegni prevedono (Il trovatore), Leporello (Il convitato di pietra), il con il Metropolitan (nel ruolo di protagonista luce per la prima volta vincendo il primo apparizioni alla Lyric Opera di Chicago, il vecchio detenuto (Lady Macbeth di Mtsensk), del Faust di Gounod). Dal suo esordio con la concorso mondiale per voci di Cardiff; da Maggio Musicale con Zubin Mehta, l’Opera di Basilio (Il barbiere di Siviglia), Dansker (Billy Royal Opera nel 1965 (come duca di Mantova allora è diventata un’importante interprete Monaco, la English National Opera e Budd ), Banquo (Macbeth), Pogner (I maestri nel Rigoletto di Verdi) vi ha fatto ritorno per internazionale di opere e concerti. Amsterdam. cantori) e Sarastro (Il flauto magico). Ha cantato cantare Benvenuto Cellini, Alfredo, Gustavo I suoi ruoli operistici comprendono Arsace Patricia Bardon ha un repertorio inoltre per la Royal Opera e Opera North. III in Un ballo in maschera, Nemorino e Lenski. (Semiramide) alla Fenice di Venezia; il ruolo di concertistico vasto e completo, che l’ha vista Le registrazioni comprendono Peter Grimes Ha creato ruoli di protagonista in Vanessa di protagonista nella Cenerentola al teatro La comparire alla Scala, Madrid, Bruxelles, (per Chandos), Billy Budd, Elijah, Stabat Mater Barber e The Last Savage di Menotti al Monnaie di Bruxelles; il ruolo di protagonista Berlino, ai festival di Edimburgo e Montreux, di Szymanowski e Serenade to Music di Vaughan Metropolitan. di Carmen per l’Opera di Amburgo, la Welsh Cincinnati, Tokio. Le sue registrazioni Williams. Per la BBC ha effettuato una I suoi trionfi operistici vanno dalle opere di National Opera e Scottish Opera; Penelope comprendono Orlando, Elijah, Erda registrazione radiofonica di un’opera in studio, Haydn e Mozart a Stravinskij, Orff, Barber e (Il ritorno d’Ulisse in patria) al Maggio Musicale (DasRhinegold per Chandos/Peter Moores The Burghers of Calais. Tra i suoi altri impegni Menotti, mentre in recital viene considerato Fiorentino e ad Atene con Trevor Pinnock; il Foundation), Amastris (Serse) e Rigoletto. vanno ricordate le interpretazioni in concerto uno straordinario interprete di lieder. Nicolai ruolo di protagonista nell’Orlando di Handel a di Die Walküre in Spagna, il ruolo di Sarastro Gedda ha lavorato con quasi tutti i più grandi New York, Parigi, Lione, Strasburgo e Richard Van Allan è un baritono basso tra i con la Welsh National Opera e il padre direttori degli ultimi trentacinque anni, tra cui Montpellier con William Christie e Les Arts più illustri della Gran Bretagna. È membro Guardiano (La forza del destino) con la English Beecham, Bernstein, Giulini, Klemperer e Florissants; Smeton (Anna Bolena) a San della English National Opera e compare in National Opera. Solti. Inoltre è uno dei tenori con la Francisco; Amastris (Serse) con Ivor Bolton numerosi ruoli di protagonista; ha cantato discografia più ricca del mondo: ha al suo per l’Opera di Monaco, a Dresda e inoltre al Covent Garden, Opera North, Nicolai Gedda è uno dei più grandi artisti del attivo 200 registrazioni, che comprendono Montpellier; Juno (Semele) a Innsbruck con Glyndebourne Festival Opera, Welsh National nostro tempo ed è apprezzato per la sua versioni integrali delle opere Guillaume Tell, René Jacobs; il ruolo di protagonista in Opera e Scottish Opera. Dirige il National padronanza di un repertorio che abbraccia La bohème, Faust, Werther, Manon, Così fan tutte e Tamerlano al festival di Beaune; Helen (King Opera Studio. I suoi impegni lirici all’estero lo quasi tutti gli stili e le epoche nel campo Benvenuto Cellini. Priam) per De Vlaamse Opera, Anversa, e la hanno portato al Metropolitan di New York,

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all'Opéra di Parigi, al Teatro Colôn di Buenos Tokio, Singapore, in Australia, Nuova Zelanda L’Orchestra della Welsh National Opera, reputazione è cresciuta rapidamente e il suo Aires, a San Diego, Miami e Seattle. Ha e al festival di Bayreuth. fondata nel 1970, è considerata una delle lavoro operistico e concertistico ha riscosso interpretato, tra l'altro, il ruolo di protagonista Le numerose registrazioni di Linda Finnie migliori orchestre britanniche, molto grandi apprezzamenti non solo nel repertorio nel Don Quichotte di Massenet (English per Chandos includono opere di Bliss, apprezzata per il un vasto repertorio tradizionale, per esempio quello verdiano, ma National Opera e Victoria State Opera), Diepenbrock, Korngold e Respighi, oltre ai operistico e anche per i concerti e le anche nelle opere del ventesimo secolo, per Theseus (The Fairy Queen), Basilio, Old Man cicli di lieder di Mahler, Elijah, Sea Pictures di registrazioni. esempio A Midsummer Marriage di Tippett e Da (King Priam) per la Flanders Opera e l'ENO Elgar e The Light of Life, e Ivan the Terrible di Dal 1973 al 1986, sotto la guida del suo una casa di morti di Janácvek. Il Coro ha registrato e Don Jerome (La Dueña per Opera North). Prokof’ev (vincitore del premio Deutsche direttore musicale Richard Armstrong, numerose opere, tra cui Andrea Chénier con Le registrazioni di Richard Van Allan Schallplatten). l’orchestra ha sviluppato un vasto repertorio Riccardo Chailly, Tristan und Isolde e Parsifal con comprendono Così fan tutte di Mozart con operistico. A questo periodo risale la prima Reginald Goodall, Montserrat Caballé, Janet Baker e Ileana Nata nella contea inglese di Lancashire, collaborazione di Reginald Goodall con I masnadieri, Norma, Hamlet, Ernani, Cotrubas per la direzione di Sir Colin Davis, Elizabeth Bainbridge effettuò gli studi al l’orchestra. Nel 1987 la carica di Direttore Anna Bolena e Adriana Lecouvreur con Don Giovanni con Bernard Haitink, il ruolo di conservatorio londinese Guildhall School of musicale passava a Sir Charles Mackerras e gli Richard Bonynge, Tosca con Georg Solti, Raleigh (Gloriana di Britten) con Sir Charles Music and Drama. Nel 1964 fece il suo impegni di registrazione dell’orchestra Rigoletto, Faust e Un ballo in maschera con Carlo Mackerras, Billy Budd, e per Chandos debutto al Royal Opera Covent Garden con cominciavano ad ampliarsi notevolmente. In Rizzi, oltre a The Mikado, The Pirates La Dueña di Roberto Gerhard. Die Walküre e l’anno successivo entrò a far precedenza erano state registrate diverse opere of Penzance, The Yeomen of the Guard, parte della compagnia omonima. Ha in versione integrale con Richard Bonynge e Gloriana di Britten e Osud di Janácvek con Linda Finnie è nata in Scozia e ha studiato sostenuto, tra l’altro, la parte di Quickly, Joan Sutherland, Montserrat Caballé e Mackerras. Tra i brani concertistici, il coro ha presso la Royal Scottish Academy of Music Suzuki, Amneris, Emilia, Erda, Arvidson, Luciano Pavarotti alla testa di cast di registrato Sea Drift di Delius, The Vigil of Venus and Drama e la Royal Academy of Music. È Filipyevna, della Vecchia (ne The Midsummer prim’ordine. Con Mackerras l’orchestra ha di George Lloyd e Hiawatha di Coleridge- comparsa con tutte le principali compagnie Marriage), Nonna Buryja (in JenuÞfa) e della registrato Osud di Janácvek (CHAN 3019). Taylor. operistiche britanniche, in particolare con la Zietta (in Peter Grimes). La Bainbridge si è Carlo Rizzi è Direttore musicale dal 1992. Nel English National Opera nel ruolo di Brangäne esibita con la Royal Opera al Teatro alla Scala 1995 l’Orchestra della Welsh National Opera Sir Charles Mackerras è nato nel 1925 negli (Tristano e Isotta), Eboli (Don Carlos), Amneris nel 1976, nella Corea del sud et nel Giappone si è aggiudicata il premio della Royal Stati Uniti da genitori australiani ed ha studiato (Aida), Ortrud (Lohengrin) e Ulrica (Un ballo in nel 1979, all’Olympic Arts Festival 1984 di Los Philharmonic Society Music, nella categoria a Sydney e a Praga. In opera ha debuttato maschera), e con la Royal Opera nel ruolo di Angeles e al Festival d’Atene 1985. Le sue Large Ensemble. come direttore al Sadler’s Wells Opera dove Waltraute (Götterdämmerung). Al di fuori del registrazioni discografiche includono Norma, diresse la sensazionale prima esecuzione Regno Unito è comparsa a Parigi, Ginevra, Les Troyens, L’astuta piccola volpe, Dido and Aeneas Il Coro della Welsh National Opera è nato britannica della Kát’a Kabanová di JanácŠek, Francoforte, in Fiandra, a Lille, Nizza, Vienna, e The Midsummer Marriage. come gruppo professionale nel 1968. La sua rappresentazione che inserì JanácŠek nel

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corrente repertorio britannico. È stato ricerche nella pratica esecutiva della musica Page from the manuscript score of Eugene Onegin direttore stabile dell’opera di Amburgo dal del Settecento e Ottocento esercitando 1966 al 1969 e direttore artistico del Sadler’s profonda influenza nell’interpretazione dei Wells (poi English National Opera) dal 1970 al nostri giorni. La sua vasta discografia include 1977 e della Welsh National Opera dal 1987 al un assai premiato ciclo di opere di JanácŠek 1991 per la quale diresse, fra l’altro, di nuovo con l’Orchestra Filarmonica di Vienna, JanácŠek con grande successo. L’allestimento e Gloriana di Britten e Rusalka di DvoŠrák (che la registrazione di Osud vennero sponsorizzati hanno vinto i premi Gramophone) e con la dalla Peter Moores Foundation. Sir Charles English National Opera il Giulio Cesare di Mackerras è direttore ad honoris della Scottish Handel e Maria Stuarda di Donizetti (per la Chamber Orchestra, direttore emeritus della Chandos/Peter Moores Foundation). Welsh National Opera, direttore principali Sir Charles Mackerras ha ricevuto della San Francisco Opera e dalla stagione l’onorificenza di Commendatore (CBE) nel 1998/99 direttore artistico dell’Orchestra of 1974 e il titolo di Sir per la sua attività di St Luke’s di New York. Da molti anni musicista nel 1979. Gli è stata inoltre collabora con la Royal Opera, Covent Garden, conferita la medaglia al merito della e dirige regolarmente alla Metropolitan Opera Repubblica Ceca, il premio Chopin ed è stato di New York. nominato “Companion of the Order of Sir Charles Mackerras ha intrapreso estese Australia”. A K G Lo n don

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Catherine Ashmore production ofEugeneOnegin Welsh NationaOper’1993 Neil RosenheinaLenskyin Neil RosenhenaLky in WelshNatioOper’s 1993 productinof Eugen Oin

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Peasants’ harvest dance, Act I Scene 1, from Welsh National Opera’s 1993 production of Eugene Onegin C a t he r i ne A s h m ore CHAN 3042 BOOK 29/01/2016 14:55 Page 92

Madame Larina For you had set your heart on someone Madame Larina COMPACTDISCONE I know that song and I remember more romantically inclined, At first I woke each morning crying, how in those long-forgotten days and dreamt you might elope together. and even longed to run away. Act I when I was young, I also sang it. But household duties soon began 1 Introduction Madame Larina and gradually I grew contented. Nurse Ah, so I had! Ah, so I had! Scene 1 Ah, that was many years ago. He took my heart away, Madame Larina and Nurse God sends us habit from above The garden of the Larin country estate. On the left, a Tatyana and Olga that dashing ensign in the Guards! in place of happiness and love. house with a terrace; on the right, a shady tree with a ‘And did you sigh to hear its melody, Nurse The proverb’s true! flower bed nearby. In the background, a dilapidated his song of love and sadness never-ending, All that seems many years ago. wooden fence beyond which the village and church are and see his grief, all other grief transcending, Madame Larina visible through the thick foliage. It is early evening. as in distress he vowed that he would die?’ Madame Larina And so romance, Princess Aline, Madame Larina sits under the tree making jam; And did you sigh to hear him vow I was so elegant in those days… and books of sentimental verse Filippyevna is standing near her and helping. The doors that he would die? were all forgotten. leading from the house onto the terrace are open, and In his distress the shepherd boy looked down Nurse singing can be heard coming from within. and vowed that he would die. Yes, you looked lovely… Nurse And you soon preferred to dress in something Madame Larina No. 1 Duet and Quartet Madame Larina simpler; How I adored those English novels! …And wore each fashion à la mode. instead of crinoline and wrap… Tatyana and Olga Nurse 2 ‘Oh, did you hear the lovesick shepherd boy Nurse Madame Larina and Nurse Yes, that was many years ago. who sings of woe and sadness never-ending? …And wore each fashion of the day. Ah! I/You wear a quilted gown and cap. The morning silence with him softly Madame Larina God sends us habit from above Madame Larina blending, Not that I read them for myself. in place of happiness and love. But father chose a husband for me. as he pours out his plaintive song of love. No, it was just because my cousin – The proverb’s true! Oh, did you hear the shepherd boy Princess Aline who lived in Moscow – Nurse Madame Larina as he pours out his silent love? would talk of Richardson all day. Then you were married straight away; And yet my husband loved me blindly Within the grove each day Ah, Grandison! Ah, Richardson! no wonder you were so unhappy. and always treated me so kindly. the shepherd sings his plaintive song of love. Nurse But soon you said goodbye to Moscow; Oh, did you hear at break of day the shepherd Yes, I remember. your noble master brought you here, Nurse boy You’d only just become engaged! and when your household duties started And yet the master loved you blindly who sings of love?’ But I knew it wasn’t a love-match! you grew contented. and always treated you so kindly.

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Madame Larina and Nurse Madame Larina Fa la la la, etc., Olga Yes, God is good, he knows what’s best, Thank you, good people, I’m delighted. ‘I’m a gentleman of breeding.’ Ah, Tanya, Tanya, you dream the whole day long! and all who trust in him surely will find rest. You’re welcome here. I’m not like you at all; when I hear songs Let’s celebrate the harvest with a song! ‘You have said the same to Sasha; they always set me dancing. (The singing of peasants is heard off-stage, broke your promise to Parasha!’ (She dances.) gradually coming nearer.) Peasants Fa la la la, etc., ‘In a cottage by the water Why, that’s a pleasure, ma’am. ‘broke your promise to Parasha!’ lived a miller with his daughter.’ No. 2 Chorus and Dance of the Peasants Sing for her ladyship, ‘Don’t believe that harridan Parasha, (Olga embraces her mother and then moves down- Leader and take your places, dancers. when I see her next I swear I’ll thrash her! stage to sing. Madame Larina, the Nurse and 3 My legs ache and can no longer run, Come on now, are you ready? Don’t believe Parasha, Tatyana gather round her.) now the day is done. (During the song the girls dance with the sheaf and who’s been gossiping with Masha; 6 I’m not the sort to sit in silence, Tatyana and Olga come out onto the balcony.) if we meet again I’ll thrash her!’ at night I never stay awake Peasants 4 In a cottage by the water and watch the moonlight at my window, My poor legs are aching and cannot run. lived a miller with his daughter. But the miller’s pretty daughter or sigh and sigh and sigh shouted back across the water, Leader Fa la la la, etc., as if my heart would break! Fa la la la, etc., My hands both are sore from binding corn lived a miller with his daughter. shouted back across the water. So why be sad? Behave as I do since the break of morn. Came a farmer on the ferry, and lead a life that’s always gay; rich and ruddy as a cherry. ‘Though you’ve got your fascination, for when you’re cheerful and fond of laughter Peasants Fa la la la, etc., I must keep my reputation, the heart grows younger every day. My sore hands are aching from binding corn. rich and ruddy as a cherry. so I’ll be at your disposal Never give way to sorrow or despair; My heart is grieving from bitter sorrow when you make me a proposal!’ each morning calls anew to pleasure! and never-ending care; Saw the miller’s pretty daughter, My love of life is past all measure, my spirit is sore started then and there to court her. Fa la la la! etc. that’s why my heart is free from care! for I’ll see my love no more. Fa la la la, etc., My legs ache, etc. started then and there to court her. No. 3 Scene and Aria No. 4 Scene (The peasants enter, carrying before them a Thought he’d manage to persuade her Tatyana (with book in hand) decorated sheaf of corn.) Madame Larina if he came to serenade her. 5 Oh, how I love to hear the people singing, 7 Health and wealth to your ladyship, Come here, my darling Olga! Fa la la la, etc., for music makes me lose myself years of plenty and fellowship! I love to see you happy and contented. if he came to serenade her. in endless dreaming and yearning far away. Doubtless you know why we come to you You’d really like to spend the whole day dancing, I’m sure of it! bearing a sheaf as we always do; ‘Won’t you listen to my pleading? (Olga and Tatyana come down from the balcony harvest is finished at last! I’m a gentleman of breeding.’ and join their mother.) (Tatyana and the Nurse walk away from the others.)

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Nurse Tatyana Tatyana Onegin Tanyusha, what’s the matter? Tell me, child; It’s such a moving tale of two young people; Oh, in that case I must go! I find them charming, ma’am. perhaps you’re feeling ill. they’re both in love yet so unhappy, (She wants to run away; Madame Larina restrains Madame Larina and I’m sorry for them. her.) Let’s go inside to talk, Tatyana Oh, how they had to suffer! No, Nanny, please don’t worry. Madame Larina or, if you would prefer it, Madame Larina What nonsense, Tanya! They’ll be offended. we could remain here in the garden. Madame Larina (turning to the peasants) Tanya darling, when I was young I, too, Heavens above! My cap is on all askew! I beg you, don’t stand on ceremony; Good people, let me thank you for your would get upset from reading these romances. we are neighbours, so do exactly as you please. (The Nurse arranges Tatyana’s dress and then goes singing. They’re all made up, my child! Lensky (to Onegin) out, motioning to her not to be afraid.) You must be thirsty now. As time went by I came to realise that in life I love it here! There’s nowhere else that’s quite Filippyevna, arrange for wine before they leave. there are no heroes or heroines. Olga (to Madame Larina) so peaceful My friends, God bless you! Olga Why don’t you ask them in? or secluded. It’s just delightful! Peasants You try to sound so worldly, but all the time Madame Larina (to the coachman) Madame Larina Goodbye, and thank you, ma’am! forget you’re in your apron! Invite them to come in! Stay here then! Think what a sight you’d look if Lensky came! But I must go indoors to see about the supper. (The Nurse goes out with the peasants. Tatyana sits (The coachman runs out. In great excitement they (Olga laughs; Madame Larina hastily takes off her My girls will entertain you. A bientôt! down on the terrace steps and becomes engrossed in apron.) all prepare to receive the guests. Enter Onegin and (She goes out, motioning to Tatyana not to be shy. her book.) Hush, there’s a carriage coming! Lensky. Lensky goes up to Madame Larina, kisses Lensky and Onegin walk over to the right. Tatyana Here he is! her hand and bows to the girls courteously.) Olga and Olga stand on the opposite side.) Oh, mother, what’s the matter with Tatyana? Madame Larina No. 5 Scene and Quartet Onegin (to Lensky) He’s very early! Madame Larina Lensky 9 Now tell me, which of them’s Tatyana? Dear, dear! Indeed, you look quite pale, my Tatyana (looking down from the terrace) 8 Mesdames, I hope that you’ll excuse me, I’m really interested to know. darling. He’s not alone. I’ve brought a visitor. This is Onegin, Lensky my neighbour and my friend. Tatyana Madame Larina The older one who’s looking sad, But no more than usual. Who can it be? Onegin with eyes cast downwards so demurely. You’re far too anxious, mother! (The Nurse enters in haste with a coachman.) I’m greatly honoured. Onegin Can’t you see I’m busy reading my novel? Nurse Madame Larina (flustered) I’m most surprised you’ve chosen Olga. Madame Larina Your ladyship, he says it’s Mister Lensky; No really, sir, it’s we who are honoured. Lensky Ah, clearly that’s the reason! Mister Onegin’s with him. Be seated and meet my daughters. And why?

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Onegin and make their scandalous conclusions. (Lensky and Olga walk away. Onegin and Tatyana Lensky (to Olga with passionate ardour) For I’d prefer the other Slyly, they’ll call him eligible come forward. He talks to her with cool 11 How I love you, I adore you, Olga, were I a poet just like you. though also hint that he’s depraved. politeness.) with the hopeless longing of a poet’s fervour, Your Olga’s features have no life, I knew that when Onegin came here as only he is doomed to love! Onegin no special character or poetry. his charm would make a deep impression. But tell me, though, My heart is ruled by one emotion, I’ll grant she has a pretty face, The village gossips now will start to whisper do you not find it rather boring one constant yearning for devotion, but like the moon it lacks all grace; and link Tatyana’s name with his. living so cut off? for you’re my goddess and my muse. yes, like the moon it’s vacant and prosaic. The people here will start to gossip and whisper, It’s very quaint but somewhat rustic; While still a boy my heart was captured: linking Tanya’s name with his. your voice would haunt me night and day. Lensky there’s nothing here to offer you I watched your innocence, enraptured, Clearly there is a gulf between us; (Lensky goes up to Olga. Onegin looks nonchalantly distraction or give amusement. for prose and verse and heard you laughing at your play. at Tatyana who stands with downcast eyes. He then Tatyana or fire and water We lived not caring for the morrow, goes up to her and engages her in conversation.) Well, I’m fond of reading. aren’t more unlike than you and I! sharing each childish joy and sorrow. Ah! Ah, yes! There is a gulf, etc. No. 6 Scene and Arioso Onegin …Are not more different then you and I! Really! It’s true that books can give us pleasure; How I worship you, how I worship you, Lensky (ardently, to Olga) I enjoy them also, with the hopeless love known only to a poet! Tatyana (to herself ) 10 How perfect, how wonderful, but even reading surely has its limits! You are all my inspiration, Now, now at last my eyes are open, to be once more together! you alone are all my gladness, my heart assures me it is he! Tatyana all my happiness and sadness! And now I know his precious image Olga I daydream as I wander through the garden. How I love you, I adore you, will haunt me for the rest of life. I thought we met here only yesterday. and there’s no power on earth, I’ll dream each night of my beloved. Onegin Lensky no time or distance that could keep us both His coming has aroused within me What is it that you dream about? I know, but that is ages. apart, the magic feeling of desire, One whole day of separation – Tatyana or ever cool the ardour and set my loving soul on fire. it seemed endless! My greatest joy is meditation, of my pure desire, His coming’s filled we with desire, and has been since I was a child. for love has warmed it with eternal fire! and straightway set my soul on fire! Olga Onegin Olga Olga (to herself ) Endless! You make it sound so terrible! I see that you’re incurably romantic; Our days of childhood were serene I always knew that when Onegin came here Don’t exaggerate! I, too, once used to be the same. amid this quiet rural scene. his elegance and easy social grace Lensky would make a deep impression. The word was strong, Olga, (Onegin and Tatyana move away to the opposite Lensky The gossips will begin to talk even as my love for you! side of the garden while Lensky and Olga return.) For I worship you!

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Olga Onegin (to Tatyana) No. 8 Introduction and Scene Tatyana Our parents watched us as we grew My uncle wrote that he was ailing Tell me something else, then. 13 Introduction and knew that I would marry you. and so I called on him down here. When you were just a girl like me, Thank God, he died a few weeks later Nurse did you not fall in love at all? Lensky and earned my gratitude, I fear, 14 There! No more talk tonight. Yes, I worship you and only you! Nurse for he had left me quite a fortune! It’s bedtime, Tanya. Now really, Tanya! What a question! (Madame Larina and the Nurse come out onto the But, Lord above, I found it tedious You must be up in time for church tomorrow. No one in those days spoke of love, terrace. It grows darker; by the end of the scene it is to sit beside him night and day, Now sleep, my child. and if I’d used that word my husband’s mother night.) just waiting till he passed away! (Tatyana rises listlessly and sits on the bed. would have sent me packing! The Nurse caresses her.) No. 7 Closing Scene (They go into the house.) Tatyana Tatyana Madame Larina Nurse Then why did you get married, Nanny? 15 I can’t sleep, Nanny. It’s so sultry. 12 Ah, here you are! But what’s become of Tanya? My poor Tanyusha! She looks so timid, Open the window and sit by me. Nurse Nurse her eyes cast meekly down, and never speaking. God willed it so, and so it happened, (The Nurse opens the window and sits on a chair I saw her with your guest down by the lakeside. How pale she’s looking and how shy! when I was only just thirteen. beside Tatyana.) I’ll go at once and call her. Can that young gentleman have caught my Vanya was even younger still. darling’s fancy? Madame Larina Nurse The match was settled by our parents, my dowry fixed, and then one day Yes, and say to her (She goes off pensively, shaking her head.) Tanya, what’s wrong with you? my father blessed me with a kiss. she should be in by now. Our guests are hungry, Tatyana I cried, and no one could console me. and soon it will be supper-time. Scene 2 I’m restless, Weeping, my friends unbound my braids (to Lensky) so tell me more about the past. So meanwhile, let’s go indoors. Tatyana’s room, very simply furnished with old- and led me solemnly to church. fashioned white wooden chairs covered with chintz, Nurse And so I went to live with strangers… Lensky and window curtains of the same material. A bed, 16 Well, let me think now. In the old days But you’re not listening to me, child! We’ll follow you, ma’am. over which is a bookshelf. A chest of drawers, my head was full of any number (Tatyana embraces the Nurse with passionate (The Nurse goes out. Onegin and Tatyana enter. covered with a cloth, and on it a mirror on a stand. of fairy stories and children’s tales, emotion.) The Nurse re-enters behind them, trying to Vases of flowers. At the window, a table with of ancient legends and romance. overhear their conversation. Onegin walks calmly writing materials. As the curtain rises, Tatyana, Today, though, my poor memory’s failing; Tatyana across the stage and by the end of his speech has wearing a white nightdress, is sitting before her those tales are quite forgotten. Oh, Nanny, Nanny, I’m so wretched, so unhappy, reached the terrace. Tatyana still shows signs of mirror very much lost in thought. The Nurse is Ah! My mind grows weaker every day. I feel like bursting into tears and sobbing, embarrassment.) standing near her. Yes, truly! for my heart is breaking.

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Nurse I’ll learn what rapture lies in store! ‘Whatever brought you to this lonely place? Yes, it is your beloved vision There, there, my child, you must be ill. Desire has poisoned me with longing; For since I live here in seclusion that comes in this moment of decision But God will cure you, you shall see. all day I only think of him. I never would have seen your face, to stand beside me as I write, Come, let me sprinkle holy water on you. For though I hide in my despair, or would have known such bitter torment. and fill my heart with new emotion, You’re all on fire. my fatal tempter finds me there; My heart would soon have grown contented with whispered promise of devotion, Tatyana (hesitantly) my tempter haunts my footsteps everywhere! and then as time went by, who knows, that brings me comfort and delight. I am not ill; (She goes to the writing table, sits down and writes, I might have chanced to find another, (She goes to the table and sits down again to write.) 21 I’ll tell you, Nanny, I’m… I’m in love! then pauses.) agreed to honour and respect him, ‘Are you an angel sent to guard me, No, that won’t do! I’ll start another. and made a faithful, loving wife…’ or will you tempt and then discard me? So leave me now, please leave me now, (She tears up the letter.) (She becomes lost in thought, then rises suddenly.) Resolve these doubts I can’t dispel. for I’m in love! What’s wrong with me?I’m all on fire. But no! Could all my dreams be self-delusion? Nurse I can’t think how to start. 19 No, there could never be another Am I too innocent to tell? But Tanya… (She writes again, then pauses and reads over what to whom I’d give my love! Has Fate prepared its own conclusion?’ Tatyana she has written.) My life is bound to yours for ever; (She again rises and walks about pensively.) I beg you, leave me here alone. 18 ‘I had to write, my heart compelled me; this is decreed by heaven above. 22 ‘No, come what may, I’m now resolved First bring my table with some paper, what is there more that I need say? Now my existence has a meaning, to lay my worthless life before you. my pen as well. I’ll go to bed then. Henceforth I know that you’ll disdain me that noble soul for which I sigh. Pity my burning tears and grant me Good night! for acting rashly in this way. I know that God above has sent you your protection, I implore you, But if you’d only show compassion to guard and to love me till I die! I implore you! Nurse (doing what she is told) and think how wretched I must be, Often I’d seen you in my dreaming; Imagine, I am all alone; Good night; sleep soundly, Tanya! you’ll surely not abandon me! your face and form had long been dear. there’s no one here who understands me. (She goes out.) At first I meant to hide my secret; Nightly you whispered in my ear; (She comes down-stage.) believe me, I had hoped that you would never your words disturbed me with their meaning. I fear my reason will desert me; No. 9 Letter Scene know it; And then… that dream of mine came true. to find release I’d gladly die. never know, never know!’ For when we met, I straightway knew you, I long for you, (Tatyana remains for a long time lost in thought. (She lays the letter aside.) and in that instant, beating wildly, I long for you to be my saviour; Then she rises, very agitated and with an expression Oh, yes, I’d sworn that I would hide my love, my heart cried out to me: ‘Love him, love him!’ one word can set my heart on fire of resolute determination.) and not betray this madness that consumes me. 20 For you were always there beside me or simply stifle my desire, Tatyana But now I can’t subdue my passion any more; when, sick at heart, I knelt in prayer. to leave me desolate and wretched!’ 17 To write is foolishness, I know it, fate will decide whatever lies in store. Your noble presence seemed to guide me (She goes quickly to the table and hurriedly finishes but as I love him, I must show it. I shall declare myself and trust in my confession! when I would help the poor and the letter. Then she stands up and seals it.) And though I languish evermore, (She writes again.) needy in charity. It’s finished! Dare I read it through?

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For shame and terror now assail me. Tatyana Tatyana Tatyana But since his honour is my pledge 24 Oh, Nanny, may I ask a favour? Oh, Nanny, what does all that matter? Truly, there’s no cause for dismay; I boldly trust he will not fail me! I tell you that my letter is for just send your grandson on his way! Nurse the neighbour who was here the other day. Of course, my darling, tell me what. (The Nurse takes the letter, but stands as if still in No. 10 Scene and Duet Tatyana Nurse doubt. Tatyana motions to her to go. The Nurse goes to (Tatyana goes to the window and draws the Don’t think that… really… or suspect that… I understand now. the door, stands there a moment considering, then comes curtains. Daylight quickly fills the room.) Just promise, promise that you’ll do it! back again. Finally she signifies that she understands Tatyana and leaves the room. Tatyana sits down at the table 23 Ah, night is over! Nurse It must be taken to Onegin’s house. and, resting her elbows on it, again becomes lost in The rising sun There, there, I’ll give my word of honour. thought.) awakes another day. Nurse Tatyana (She sits by the window.) Please don’t be angry that my mind’s astray, 25 Then make your grandson go in secret Scene 3 There goes the shepherd; I’m growing older every day. to take this note to him – you know – the world’s at peace. Another part of the Larin estate. Thick lilac and that gentleman who lives nearby, Tatyana But I’m not, I’m not! acacia bushes, untidy flower beds and an old bench. In and make him promise that he’ll never reveal Onegin’s house! the background, peasant girls are gathering berries (She becomes lost in thought. The door opens who wrote it or from whom it came. Nurse among the bushes, and singing. quietly and the Nurse enters. At first she does not Nurse I understand now. notice Tatyana.) To whom? I didn’t catch the name. No. 11 Chorus of Girls Tatyana Nurse I’m growing slow of understanding. Onegin’s house! Girls It’s time to dress, my dear. Wake up! We’ve got so many neighbours here, I cannot know them all, I fear. 26 Dear companions, come this way, (She sees Tatyana.) Nurse Speak up, now, and tell me as plainly as you can. join us in the games we play. Why, what is this? You’re up already! I understand! Choose a happy melody You must have risen with the lark. Tatyana (impatiently) suited to our revelry. Last night I feared that you were ill, Tatyana Nanny, how can you be so stupid! Sing our favourite roundelay/carol but, thank the Lord, that’s over now and done So send your grandson with my letter to Nurse for the harvest holiday. with. Onegin. My dear, I must be getting old, If a handsome lad comes near, You’re quite your cheerful self again. my wits have started to forsake me. Nurse let us try to lure him here. Your cheeks have got their colour back. But once they were as bright as gold Please don’t be angry that my mind’s astray. When he’s seen us from afar (Tatyana comes from the window and picks up the and that’s why the master put you into my I’m growing older every day. he’ll discover where we are. letter.) keeping. But Tanya, why have you turned paler? If he follows in pursuit,

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pelt him gaily with your fruit: do not deny it! Hymen might scatter in our way, COMPACTDISCTWO all the berries you can find, What I read displayed your innocence and feeling, who knows, perhaps for many a day! summer fruit of every kind. the wealth of love your heart’s concealing, My soul was destined to discover Act II As the lad is chased away and I was touched by what you said. it sought no other; see that he is teased, and say, It stirred within me once again that Fate decrees for good or ill. Scene 1 ‘Never come again to spy an old and sensitive emotion. I’ll always love you as a brother, on the girlish games we play!’ Yet I must ask you to reflect; yes, as a brother, Abrightly illuminated ballroom in Madame surely it can’t be thought correct or yet, who knows, more dearly still. Larina’s house. In the centre a chandelier; on the No. 12 Scene and Aria to write so frankly to a stranger. I promise you, maybe more dearly still. walls, sconces with lighted tallow candles. Guests, in So hear what I now have to say, I beg you not to feel rejected; very old-fashioned evening dress, and among them (Tatyana enters, running quickly, and throws officers, dressed in the military uniform of the herself, exhausted, on the bench.) then you can judge me as you may. your confidence will be respected. Believe me, all I say is true. 1820s, are dancing a waltz. The older men sit in Tatyana Tatyana 30 But try to practise self-control; groups and watch the dancing admiringly. The older 27 Onegin! Here! To see me! Oh, heavens! How distressing and how painful! for some men, unlike me, women, who are carrying reticules, occupy chairs placed along the walls. Onegin is dancing with Oh, heavens, what must he think of me? (She sinks down on the bench.) abuse such youthful innocence as yours. What will his answer be? Tatyana and Lensky with Olga. Madame Larina Girls (in the distance) Why did I write and yield to love so easily? Onegin moves about continually with the air of a solicitous Dear companions, come this way, What foolishness took hold of me 29 Were I the sort who had intended hostess. join us in the games we play. and made me send him such a letter? to lead a calm domestic life; Choose a happy melody It’s certain now! My heart foretells me; if lasting happiness depended suited to our revelry. No. 13 Entr’acte, Waltz and Chorus the fatal tempter I adore on seeking out a perfect wife, If a handsome lad comes near, will now despise me evermore! then doubtless I’d agree 1 Entr’acte and Waltz let us try to lure him here. O God above, I’m so unhappy, that only you could share my life with me. If he follows in pursuit, I’m so forlorn! But I’m not made for warm affection, Guests pelt him gaily with your fruit. He’s here, I know it! and as for wedlock, even less; 2 This is superb! See that he is teased, and say, Yes, it is he! It is he! and though I value your perfection We never had expected ‘Never come again to spy I fear I’d cause you much distress. such splendid company (Onegin enters. Tatyana jumps to her feet and Onegin on the girlish games we play!’ In fact, and this I’ve now decided, and dancing to a band! approaches her. She lowers her head. He speaks with to marry you would be misguided. (As the song gradually becomes more distant, Onegin We seldom see parties dignity, calmly and somewhat coldly.) At first my love would be untold, offers his arm to Tatyana; she gives him a long, such as this one. Onegin but time would make it soon grow cold. imploring look, then rises mechanically and goes out What glorious food! What glorious wine! 28 You wrote a letter – Imagine, then, the thorny roses meekly, leaning on his arm.) So tasteful, so well planned.

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Not for years have we seen such a party. (Onegin is dancing with Tatyana. The others stop (He dances with Olga.) Olga Everyone should enjoy it while they can. dancing and everyone watches them.) I can’t imagine what you’re referring to! Lensky Yes, it’s splendid! Simply delightful! Elderly Ladies She’s smiling at him! Lensky What a party, what a party! Look at them! Now what could be plainer? I must be dreaming! Olga! Throughout the evening your waltzes, We have never been more surprised! She must find a husband. That’s him, for sure! What’s come over you? yes, all of them, were with Onegin! Elderly Gentlemen How sad for Tatyana, for once they are married, And yet when I asked, you just ignored me. Here in the country we live in seclusion; she’ll find he’s a tyrant. He gambles, what’s more! Guests Olga festive occasions and dancing are rare. (Onegin quietly passes by them, trying to overhear Such a party! Vladimir, this is foolish; Hunting is usually our only diversion; their conversation.) Such a surprise! don’t let a dance upset you so. makes a nice change from the hounds and the He’s most discourteous and conceited; What delightful dancing! hare! the things he says can’t be repeated! How delightful! Lensky The party’s at its height. He’s a freemason, so they say, What! Don’t you think I care? Elderly Ladies This is superb! and ends up drunk on wine each day. Am I supposed to watch quite indifferently That’s all our men-folk consider amusing, We never had expected while you make eyes at him and flirt like some just shooting and fishing and up with the sun; Onegin such splendid company coquette! and then in the evening they’re always exhausted, 4 So that’s their verdict! No more of this! and dancing to a band! He held you far too closely yet we who’ve been working could do with some I’m tired of hearing their dreary gossip. and pressed your hand in his. fun! Serves me right, though, for coming. Not for years have we seen such a party; Whatever brought me here to this confounded this is truly perfection! Beyond all expectation! I saw it all! (Agroup of young girls surrounds the Captain.) ball? Hail to music, hail to song! Olga We’ll dance and feast the whole night long! Yes, what! I can’t forgive Vladimir for persuading me Oh, this is stupid jealousy and pure imagination! Young Girls Hail to pleasure, to feasting, and dancing! to come, so I’ll dance again with Olga, I only talked to him, Oh, Captain Petrovich, We’ll dance and we’ll feast the whole night long! we beg you to tell us for that will make him jealous. he has such charm. the name of your regiment! (At this moment, Olga passes by, followed by Lensky.) Here she is. No. 14 Scene and Triquet’s Couplets Lensky So, it’s charm! Captain (to Olga) (Lensky goes up to Olga, who has just finished 3 Ah, Olga, you no longer love me. Certainly! But why aren’t you dancing? Allow me! dancing with Onegin.) Young Girls Lensky (to Olga) Olga Lensky Well, no one has asked us to. But you had promised me this dance! Don’t be so silly! 5 How can I have deserved to be so taunted by you? Captain Onegin (to Lensky) Ah, Olga, must you torture me like this? Lensky In that case, dear ladies, the pleasure is mine! You’re mistaken there, my friend! What have I done? No, you do not love me.

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(Onegin approaches them.) Girls Guests Onegin Will you dance the cotillon with me? Here she is! Here she is! Bravo, bravo, bravo, Monsieur Triquet! Is that so? Onegin Your singing is delightful; I had expected quite a different answer. Triquet a fitting tribute for the day! Why are you sulking then? No, with me! Aha, voilà ze lovely birthday queen! For I shall hold you to your promise. Mesdames, I’m ready to commence; (Monsieur Triquet bows his acknowledgements and (Lensky at first answers quietly, but gradually his Olga remarquez bien ma French nuance! then, on his knees, offers the song to the tone becomes more and more embittered and angry.) embarrassed Tatyana.) And I mean to keep it. (All the guests form a circle and Tatyana is placed in Lensky (to Lensky) the middle. Triquet addresses the following couplets to What nonsense! I’m not sulking. Let this be your lesson for being so jealous! her; she is embarrassed and wants to escape but is No. 15 Mazurka and Scene I’ve watched with fascination how you lure prevented from doing so. He sings with great Captain Lensky these unsuspecting girls with flattering 8 Olga! expression.) Messieurs! Mesdames! compliments 7 ‘A cette fête conviée, I beg you, take your partners, and, trifling with their feelings, humiliate them. Olga de celle dont le jour est fêté, for now we have the cotillon. That’s enough! (The guests gradually stop dancing as they become contemplons le charme et la beauté. (to Tatyana) aware of the conversation between Onegin and (Monsieur Triquet is seen in the background, Son aspect doux et enchanteur Allow me, pray! surrounded by a group of girls.) Lensky.) répand sur nous tous sa lueur; Mazurka Just look how all the girls First you break the heart of poor Tatyana; de la voir quel plaisir, quel bonheur! then you pick on Olga are gathering round Monsieur Triquet. Brillez, brillez toujours, belle Tatiana!’ (They lead off the dance. The guests pair off and dance. Onegin and Olga sit down towards the front and amuse yourself by compromising her. Onegin Guests of the stage. Lensky stands, lost in thought behind You’ll quickly turn her head Who’s he? Bravo, bravo, bravo, Monsieur Triquet! them. After dancing a turn with Olga, Onegin and make your conquest, then laugh at her. Olga Your singing is delightful; conducts her to her seat and then turns to Lensky as What a man of honour! A Frenchman who lives here in the village. a fitting tribute for the day! if he had only just noticed him.) Onegin (with a sneer, but calmly) Girls Triquet Onegin Come, you’ve lost your senses, Lensky! Monsieur Triquet! Monsieur Triquet! 9 ‘Que le sort comble ses désirs, Why aren’t you dancing, Lensky? Lensky Chantez de grâce un couplet ! Even Hamlet was not as gloomy! que la joie, les jeux, les plaisirs Oh, thank you! I’m first of all insulted What’s wrong with you? Triquet fixent sur ses lèvres le sourire! and then openly declared a lunatic! 6 By chance I ’ave with me a song. Que sur le ciel de ce pays, Lensky But first, where is the Mademoiselle? étoile qui toujours brille et luit, What’s wrong! Can’t you see? (Everybody stops dancing.) Without she ’ere I cannot start, elle éclaire nos jours et nos nuits! I’m trying to admire Guests car le couplet est fait pour elle ! Brillez, brillez toujours, belle Tatiana!’ the way you show your friendship! What’s he saying?What’s the matter?

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(The guests leave their places and surround the Guests Onegin Tatyana quarrelling men.) What is it? What’s the matter? Deep in my heart I must concede All is over now, no further hope is left! Lensky Who can tell us what has happened? that I have acted foolishly. Yet death because of him is welcome, Onegin, you are no more my friend! What made me do so? and sweeter than living without him! Lensky Sadly now I can realise that for Lensky Yes, death is now certain, my heart has foretold it. I hereby sever all ties of friendship with you, I can! for you are beneath contempt! love is something poetic, I shall die, and yet I don’t complain. So hear me now. and that passions, when they’re sincere, Hereafter no foolish illusions remain. Guests I simply asked Onegin must not be trifled with. I realise that nothing can bring us together, How did this quarrel come about, what was the reason for his conduct, By taunting him in front of Olga and death is now certain to part us for ever! what’s more, at such a splendid party? and he refused to answer me. I’ve earned the hatred of my friend. Let us hope it won’t turn into something I therefore say to him, accept my challenge! Olga serious! Tatyana Why must all men behave the same (Madame Larina pushes her way through the What I have seen has made me wretched, and think of duels as a game? Onegin (drawing Lensky slightly to one side) crowd and addresses Lensky.) and I’m oppressed with jealous anguish; They’re far too quick to pick a quarrel. Now, Lensky, listen; you’re distraught! for such behaviour I cannot understand. Madame Larina Why do Onegin and Lensky act like fools Don’t let us cause all this fuss and quarrel over Jealous anguish gives way to despair, A challenge! Oh, have pity! and think that honour’s made of rules? nothing. yes, my anguish gives way to despair, Do not quarrel here in my house! Vladimir’s jealousy will choke him, I never wanted to embarrass you as if an icy hand had gripped my heart in yet I’ve done nothing to provoke him, not I. and must protest, had no such base intention. torment! How like a man to fly into a passion. You are my friend. No. 16 Finale Olga and Madame Larina They’re foolish, impulsive, they argue and quarrel, Lensky (with increasing passion) Lensky The evening may well end in horror but never a moment consider what fighting may lead to. If that is so, why did you press her hand, 10 Here in your house! Here in your house! if they should really fight a duel! and whisper something? (with great feeling) Guests Madame Larina She blushed as she answered you. It was here in these peaceful surroundings Poor young Lensky! What a tragedy! Why must all men behave the same What was it you suggested? that my leisure was spent as a child; and think of duels as a game? it was here that I first learnt the meaning Onegin They’re far too quick to pick a quarrel. Onegin of a love that was tender and mild. I’m punished for my thoughtless conduct! Why do Onegin and Lensky act like fools Enough, now! Don’t be foolish; But this evening I’ve lost my illusions Lensky and think that honour’s made of rules? the guests are listening. and discovered that life’s not a dream, Once I loved what I thought was perfection, The evening may well end in horror, Lensky (beside himself) and that honour is just a delusion. like an angel, as fair as the day. if they should really fight a duel. What is that to me? You publicly insult me, Even friendship that seemed so fraternal Now I know it was purely deception, Oh, the shame of it is cruel! so I insist on satisfaction! can be shattered to ruins and grossly betrayed! for by nature she’s a devil who’ll cheat and betray! Why are the young always the same?

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So foolish, impulsive, they argue and quarrel, Onegin (to Lensky) runs after Lensky but falls fainting. Everyone rushes oh happy days when I was young! but never a moment consider what fighting may 11 Your challenge I accept. So be it. to help her.) (He rises and comes forward.) lead to. Everything you’ve said is ludicrous, yes, ludicrous, Shall I survive the day that’s dawning? and you deserve a lesson for such folly! Scene 2 I vainly try to read its warning. Guests It shrouds itself in mystery! Lensky Oh, what a shame! It’s really cruel A rustic watermill on the banks of a wooded stream. No matter, this is Fate’s decree. We’ll see tomorrow exactly to spoil our party with their duel! Early morning; the sun has barely risen. It is winter. My rival’s shot may well dispatch me who deserved the lesson! Young men today are all the same; When the curtain rises Lensky and Zaretsky are already or miss its mark and pass me by. Perhaps I am a fool, but you… they’ve only got themselves to blame! on stage. Lensky sits under a tree, lost in thought. So be it; death will come to claim me you… lack honour, you seducer! Yes, only got themselves to blame. Zaretsky walks up and down impatiently. at the moment of her choosing. Why are the young always the same? Onegin Welcome the day when sorrow calls; So foolish, impulsive; they argue and quarrel, Hold your tongue, sir, or I shall kill you! No. 17 Introduction, Scene and Aria welcome the night when silence falls. but never a moment consider what fighting may Tomorrow’s sky will stretch unclouded; (Madame Larina, Olga and some guests hold 12 Introduction lead to. mankind will start another day. Lensky back. Tatyana is in tears. Onegin throws Zaretsky But I, by that time, may be shrouded Onegin himself at Lensky; they are separated. Onegin goes 13 What’s happened?Where can your opponent be? Deep in my heart I must concede and lie interred within my grave. to one side and turns his back on Lensky.) Is he coming? that I have acted foolishly. As Lethe slowly bears me downward What made me do so? Now I realise Guests Lensky my name will cease to be remembered, that Lensky’s love was too poetic; What a disgrace! Fighting a duel! Yes, I’m sure he’ll come. and fade from memory… save yours, Olga! that passions, when they are sincere, It must be prevented; we shall not allow it! (with great feeling) are never to be trifled with. Until they are calmer we’ll stop them from Zaretsky Will you then come, my angel, my beloved, Well, nonetheless, I find it most discourteous! But taunting him in front of Olga leaving! to shed a tear where I am lying He should be here, it’s after six. I’ve merely succeeded in rousing Otherwise there’ll surely be a scandal! and say there: ‘Once we were in love, I wonder if he’s lost his way? but now he watches from above the anger and hatred of one I loved. Olga as I lament his early dying’? Now it’s too late to make amends; Vladimir, stop your quarrel, I implore you! (Zaretsky walks over to the mill and enters into Ah, Olga, once we were in love! I’m honour bound to answer for my action. conversation with the miller, who has just appeared Lensky To you alone I have devoted in the background. The miller shows him the Lensky a poet’s feeling and emotion. Ah, Olga, Olga, farewell for ever! wheel, millstones, etc. Lensky continues to sit and Ah, Olga, you never were to blame, Ah, Olga, once we were in love! Guests meditate.) so forgive me, my angel, my darling! Beloved friend, my promised bride, The fault was Onegin’s for acting so basely, Now for bloodshed! Lensky I wait for you! Your bridegroom waits and he shall be punished! (Lensky rushes out. Onegin also leaves quickly. Olga 14 How far, how far away you seem now, to greet his chosen bride. Oh, come!

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Oh, come to me, my chosen bride! he doesn’t know the code duello, Zaretsky Nothing can extinguish the anguish of my Oh, come, oh, come, be at my side! but he’s a worthy, honest fellow. And now, draw closer! soul! How far, how far away you seem now, (Guillot bows deeply; Zaretsky returns his bow (He claps his hands three times. The adversaries, I’ve killed the only friend I valued oh happy days when I was young! coldly.) who have not yet taken aim, take four steps and, though I’ve property and wealth, Well, shall we start? forward. Onegin, as he advances, raises his pistol. I’m growing weary with myself. No. 18 Duel Scene As he does so, Lensky begins to take aim. Onegin I’m tired of indolence and leisure; Lensky I’ve drifted without aim in life (Zaretsky comes forward and speaks to Lensky.) Why, yes, I’m ready. fires; Lensky staggers, falls and drops his pistol. Zaretsky runs to him and examines him intently. and have no family or wife. Zaretsky Boredom began to make me restless; (Zaretsky and Guillot step aside to discuss the Onegin also rushes towards his dying adversary.) 15 Ah, here they are! each day brought discontent and spleen, conditions of the duel. Lensky and Onegin stand But who’s your friend brought with him? Onegin (in a stifled voice) until the langour of my spirits waiting, not looking at each other.) I can’t make out. He’s dead? impelled me to a change of scene. (Onegin enters with his servant Guillot, who Lensky and Onegin Zaretsky I left behind, in disillusion, carries the pistols. Onegin bows to the other two.) 16 We fight to satisfy our honour He’s dead. the countryside, with its seclusion, and thirst to shed each other’s blood. (Aghast, Onegin clasps his head in his hands.) where I now saw at every bend Onegin Yet formerly we shared as brother the spectre of my murdered friend! I trust you’ll both excuse me; with brother in everything we could, Act III And so I set out on my travels clearly I’ve kept you waiting. and started wandering without aim. for such is friendship. Now, in anger, Scene 1 Zaretsky like deadly rivals bent on vengeance, But soon I realised, in despair, No matter! Where, sir, is your second? each of us silently prepares One of the side-rooms in the house of a rich that travel, too, was just as boring! nobleman in St Petersburg. So I returned here, paid a call, In my view duels are an art to kill his adversary if need be. and joined them at this tedious ball! and must, as such, be fought correctly. Ah! No. 19 Polonaise Therefore I see to it that no one meets his end Why can’t we stop our anger’s flood 19 Ecossaise just anyhow, but by the code, and circumspectly. before our hands are stained with blood, 17 Polonaise Established custom is the best. and leave together reunited! (The guests dance an Ecossaise. As they finish, No! No! No! No! (Guests dance; at the end they sit down. Prince Gremin enters with Tatyana on his Onegin Others form groups and converse.) arm.) Sir, I am suitably impressed. (Zaretsky and Guillot have loaded the pistols and Where is my second? measured the distance. Zaretsky separates the No. 20 Scene and Aria Guests 20 The Princess Gremina!Make way there. Here he is – Monsieur Guillot. adversaries and hands them the pistols. Everything Onegin As you may see, he’s just my servant; is done in silence. Guillot, in embarrassment, hides 18 Here, too, I’m bored! (Guests of both sexes come up to Tatyana and greet but you’ve no reason to object: behind a tree.) Bored by all this worldly ostentation. her with deference.)

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Some Men Tatyana Gremin Tatyana’s virtue seemed to shine Which is she, though? We met each other long ago. You must have met. with pure devotion, long denied me, Why, there she is! (aside) as if some power that was divine Onegin Oh, heaven! Let me not betray had sent an angel down to guide me. Women Yes, we were neighbours. The one who’s standing by the Prince. that I am trembling with emotion! The gift of love, etc. Onegin (to Gremin) No. 20a Aria Men No. 21 Scene and Arioso What simple elegance she has! I seem to know that lady there, Gremin (dignified and calm, but with warmth) the one who’s in the crimson turban; 22 And now, you must be introduced to her. 21 The gift of love is rightly treasured; Onegin (looking intently at Tatyana) (Prince Gremin leads Onegin over to Tatyana.) the Spanish envoy’s at her side. its countless blessings can’t be measured. Is that Tatyana? Surely… no! My dear, allow me to present you It brings its warming potency What, from that dull provincial village? Gremin to my good friend and relative, to callow youths when hearts are free; It cannot be! And how composed, Aha! It seems that you’re a stranger! Onegin. or to the warrior, old and grey, how unaffected, and how noble! You must be introduced to her. whom Fate has tempered in the fray. (Onegin bows deeply. Tatyana returns his greeting Her dignity would grace a queen! Onegin Thus I, a simple man of action, with utter simplicity, as if in no way embarrassed.) Who is she, though? (Tatyana turns to those near her, indicating with a now love Tatyana to distraction. Tatyana look that she is referring to Onegin, whom Prince Gremin A wasted, melancholy life I’m pleased to meet you; Gremin has just approached.) My wife, of course! is what I led until my wife indeed I think we’ve met before. like sun at last on darkest ocean Onegin Tatyana Onegin awoke my heart to new emotion. In the country… yes… we met. Who is that person there, the tall one I never knew that you were married. Amid this turmoil and dissension, beside the Prince? Since when, though? this world of ignorance and hate, Tatyana Men Gremin where hypocrites can win attention Do tell me, Oh, he’s an odd one, Just about two years. and cowards patronise and prate; have you been living there since then? a misanthrope and somewhat mad. among coquettes who swear devotion Onegin Onegin He’s been abroad, we hear, and fawning fops who court promotion, Oh, no! I’ve just got back here To whom? but now he’s back again; his name’s Onegin. amid morality’s decay from foreign travels. and friends who’d cheat you and betray; Gremin Tatyana in all our hollow show of fashion, Tatyana The Larin girl. Onegin? this endless, futile, social round When was that? Men Onegin where scarce an honest man is found Onegin Do you know him, then? Tatyana! who’ll keep his word or show compassion, This morning.

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Tatyana (to Gremin) Scene 2 (Tatyana wipes away her tears and motions to Onegin Dearest, I’m tired now. Onegin not to interrupt.) 27 Ah, Tatyana! Oh, how A reception room in Prince Gremin’s house. can you believe in such deception (Tatyana leaves on Gremin’s arm, returning the No. 22 Final Scene Tatyana or think I’d ever stoop so low? greetings of the guests. Onegin follows her with his 26 Onegin, I was then far younger It’s clear that you have no conception 24 Introduction eyes.) and better looking, it may be. of what I’m willing to forego. I fell in love with you, but tell me, Onegin (Tatyana enters in an elegant morning dress and If you but realised how intensely what was your answer to my plea? 23 Is this the very same Tatyana, with a letter in her hand.) I feel the agony of love; You scorned my love with formal coldness how every moment I must stifle the selfsame timid country girl Tatyana and made me suffer for my boldness. the burning ardour of my heart whose touching innocence and love 25 Why, why did he return and write this letter? You said I should be more controlled. which sets me longing to embrace you I once so heartlessly rejected He comes again like some relentless ghost to And, heavens, how my blood runs cold with all the fervour I possess, with such a moralising lecture? haunt me! when I recall your lack of feeling to worship you and beg forgiveness Yes, she it was, whose youthful passion Ah, how that look of his disturbed my peaceful and how you lectured me! for ever causing you distress! I dismissed with such presumption. mind, How is it she can now appear Yet you were not to blame. stirring the memories of passions left behind! Now I can realise that you acted quite Tatyana so condescending and austere? As long ago now, young and tender-hearted, I’m weeping! What’s wrong with me? I’m in a trance. correctly; he set my loving soul on fire, until we parted. all that you said to me was true. Onegin What is this feeling that has stirred (She weeps. Onegin appears at the door. He stands For then you found me far too simple; Weep, then! Tears from your eyes my frigid heart to new emotion? for a moment looking passionately at the weeping cut off from all this social world are precious jewels that I treasure! Resentment? Jealousy? Regret? Tatyana. Then he hurries to her and falls kneeling Or can it be that I’m in love? you had no use for me. So tell me, Tatyana and Onegin at her feet. She looks at him without surprise or what makes you tolerate me now? Yes, there’s no doubt at all, I love her, anger and then motions to him to rise.) Ah, happiness was once so near us, and all my life will never love another! Perhaps I know why you pursue me so near us, so near us! I beg you, rise, and attend, and wrote that fervent letter to me. It seems I once again recapture for I must speak to you quite plainly. I think the reason must be this: Tatyana the former joy of youthful rapture. Onegin, how can you forget that long ago you flatter me because I’m rich Destiny has willed that we should part; Desire has poisoned me with longing; our paths were crossed by destiny, there’s no returning. henceforth I’ll only think of her. and wife of one who, for his valour, and with what meekness lives in the favour of the court. For I am married, so I beg, She shall be mine for evermore; I heard the lesson that you taught. yes, I beseech you now to leave me. this I shall beg her and implore. For what a conquest it would seem if I should yield to your persuasion! I swear I’ll die to win her love once more! Onegin Onegin Have pity! Show me some compassion. The world would echo with your fame, To leave you?To leave you?Am I to leave you? (He rushes out. The Ecossaise begins again.) I was mistaken, and now I’m punished. adding new lustre to your name! No! No, I have only one desire

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and must remain with you for ever. Onegin (aside) Tatyana Those eyes of yours, that lovely smile, You love me still! Although I’m trembling with elation, Onegin! these are the visions none can sever. What is this magic you have spoken? I must not yield to this temptation. To live without you and yet know What heaven, ecstasy! My heart is his, and his alone. Onegin how near you are would be to perish. For this is how I knew Tatyana! But duty and honour command me. Stay, I beg you, do not go! I’d gladly suffer torment for your sake I’ll be true for evermore. Tatyana Tatyana or even die, yes, die, Tatyana, die! No, no! Former days cannot return. I’m deaf to all persuasion. For you are all to me, yes, all I cherish! Onegin The die is cast; I have a husband No, Onegin and mean to keep the vow I swore. (With growing passion, Onegin again falls on his for I have sworn I’ll not renounce you. I love you, I love you! knees before her and seizes her hand. Somewhat I shall be his for evermore. In the cause of love all duty must surrender. Tatyana frightened, she withdraws it.) (She tries to leave but sits down, overcome. Onegin Forsake your home and come away, Don’t torture me! Tatyana kneels down before her, wildly impassioned.) for now there is no other way! 28 Oh, leave your home and come with me. Onegin Onegin, as a man of honour, Onegin You love me, I know it, I worship you! you will surely grant my wish! You have confessed that you still love me and destiny has shown that you belong so I’m resolved in my design. Onegin to me for evermore! Tatyana No, no, I cannot leave you now! Why waste your days in loveless duty? Farewell for ever! Fate has decreed that you are mine. (Onegin tries to draw Tatyana to him; highly Tatyana We were intended for each other; overwrought, she struggles to free herself from his (Tatyana leaves the room. Onegin stands for a Yevgeny, I not only ask our lives were guided from on high, embrace, but her strength fails her.) moment, overcome with doubt and despair.) but beg of you to leave me! for now I know that God has sent me Onegin to guard and love you till I die. Tatyana Onegin Disgraced and shamed; Then let the world henceforth discover Now I must leave you. Have pity! now only death remains! that we belong to one another. Onegin Tatyana Forget your home and come away; No, you must stay! (He rushes out.) Then learn the truth, I can’t conceal it – with love this is the only way! ah, I love you still! English translation by David Lloyd-Jones Tatyana (standing up) Reprinted by permission of (Tatyana, overwhelmed by her confession, sinks on 29 Onegin! Leave me, I entreat you; Richard Schauer Music Publishers, London Onegin’s breast. He takes her in his arms but she, my husband must not find you here. recovering her senses quickly, frees herself from his I honour and shall never fail him. embrace.) I mean to keep the vow I gave.

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Neil Rosenshein Z o ë D m i n ic D o na l d S u t he rn C a t her i n e A s hmo re

Kiri Te Kanawa Richard Van Allan Linda Finnie Elizabeth Bainbridge

John Patricia Connell Bardon S i m on F o wl er S i m o n F wl er E d mun R o ss

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Opera in English on Chandos Opera in English on Chandos CH A N 3 0 1 7( 2) CH A N 3 01 9 ( 3) C H A N 3004 CH A N 3003 C H A N 30 29 CH A N 3 0 23 ( 2) CHAN 3042 BOOK 29/01/2016 14:55 Page 128

Opera in English on Chandos Opera in English on Chandos C H A N 3 0 2 5 ( 2) CH A N 3 007 CH A N 3 0 22

128 CH A N 3 0 1 ( 2) CH A N 3 0 2 7 (2) C H A N 3 0 10 CH A N 3 0 06 CHAN 3042 BOOK 29/01/2016 14:55 Page 130

Opera in English on Chandos Opera in English on Chandos CH A N 3 0 13 C H A N 3 0 32 CH A N 3 0 49 CH A N 3 0 35 C H A N 3 0 44 CH A N 3 0 05 ( 2) CH A N 3 0 ( 2) CHAN 3042 BOOK 29/01/2016 14:55 Page 132

Opera in English on Chandos Opera in English on Chandos

CHAN 3036(2) CHAN 3045(4)

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Opera in English on Chandos You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected]: www.chandos.net

Any requests to license tracks from this or any other Chandos disc should be made directly to the Copyright Administrator, Chandos Records Ltd, at the above address.

Assistant to Sir Charles Mackerras:Julian Smith Rehearsal pianist:Michael Pollock CHAN 3008(2) Production assistant: Clare Powell

Recording producerJohn Fraser CHAN 3000(2) Sound engineer Mark Vigars Assistant engineerMark Rogers Editors Matthew Cocker & Bob Whitney Recording venueBrangwyn Hall, Swansea; 29 June–6 July 1992 Front cover Photo of Kiri Te Kanawa and Thomas Hampson by Sheila Rock Back cover Photo of Sir Charles Mackerras by Zoë Dominic Design Cass Cassidy Booklet typeset byDave Partridge Booklet editor Kara Reed p 2001 Chandos Records Ltd from a p 1994 recording c 2001 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, England Printed in the EU

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